The Role of Sound as a Component of Urban Experience
(2021)
author(s): Greta Pundzaite
published in: Research Catalogue
The Role of Sound as a Component of Urban Experience is an audio-video essay that approaches urban sound as study material for sensorial analysis. An experiential experiment is carried when retransforming/playing with sensorial components of an urban dweller. Research focuses on the record of urban sound in relation to image and its proximity to cinematic/cinematographic experience. Playing with sensorial components reveals not only their influence on our ever-day perceiving of urban space but also the aesthetical nature of casual walks in the city. In other words, an analytical approach to urban sound reveals how cinematic everyday urban experience is or how cinema's sensorial base finds itself in the one of an urban dweller.
MIXED DOUBLES: COLLABORATIVE WRITING AND PERIPHERAL STRATEGIES
(2019)
author(s): David Carlin, Peta Murray, JOSHUA MICHAEL LOBB, Catherine McKinnon
published in: RUUKKU - Studies in Artistic Research
This exposition attends to the theme of peripheral spaces, sites, practices, epistemologies and conceptions. It takes the form of a playful, nonfiction archival document that comprises the interleaving of two scripts within a series of photographic images. It stands as trace for an event—originally described as “peripherally performative”—that took place at an academic conference in creative writing in Australia in 2018 (the annual Association of Australian Writing Programs Conference, in Perth). As a research artefact, the methods and mode of presentation of this work are tangential to normative procedures.
This exposition co-mingles the performed accounts of two collaborative writing projects in which the exposition's four authors—Carlin, Murray, McKinnon and Lobb —had been variously enmeshed: the collectively written book project 100 Atmospheres; Studies in Scale and Wonder (Open Humanities Press, 2019), and the Murray/Carlin speculative research endeavour How To Dress For Old Age: an Enquiry with Costumes. Each of these projects experiments with devising creative methods of collaboration so as to approach research questions multifariously and heterogeneously. Slant, in other words.
What does collaboration offer writers and writing processes? How is vision refracted through a multiplicity of gazes? How does the peripheral make itself felt? In an era shaped by critical ecological transformation, the 100 Atmospheres project—speculative, poetic, provocative—pays attention to future ways of being and becoming. In a tightly scripted dialogue, Lobb and McKinnon reflect on a collaborative process involving an interdisciplinary ensemble of 13 people, that uses ‘cross-over writing’. This process allows for fluid boundaries, multiple entries and exits, and other peripheral strategies, to enliven living and practicing in the Anthropocene. This first script is met sideways by the more improvisatory, contingent approach of Murray and Carlin, who re-construct their process of framing and investigating “how to dress for old age,” as a live and unfolding methodology (including costume changes). They report on how, in improvising with writing methods that involve alternating responses, redirections, and unanticipated shifts in focus / tempo, they have been drawn to sport, theatre and domestic metaphors to negotiate evolving rules of engagement and exchange.
The original performance used a length of rope pinned with images to stand in for a tennis net and a backdrop. This malleable object allowed us to demonstrate materially the multiple experiences of collaboration: combative and communal, public and private. In our written document we will use inset photographs (portraits and images of place), columned text and variable typography: these will interrupt and intersect with the ideas discussed in order to amplify the complex interactions central to the collaborative process.
Our visual and verbal approaches assert tactics of peripherality to examine that which is often overlooked, irrelevant or superficial, and serve as a counterpoint to normative methods. Our approaches argue for a different kind of sensitivity in practice, one which pays heed to the dance of agency between subjects and objects.
S I R E N E N
(last edited: 2023)
author(s): Katharina / K.H. Hauke
This exposition is in progress and its share status is: visible to all.
Diese Exposition präsentiert SIRENEN – auditive, performative und sprachliche Versuche von Fluchtlinien gen jenseits der Projektionsfläche – ein künstlerisches Forschungsprojekt zum Gesang der Sirenen, dem immanenten Wissen, das dieser verspricht und dem Versprechen, als das wir ihn kennen.
„Welcher Art war der Gesang der Sirenen? Worin bestand sein Mangel? Warum verlieh dieser Mangel ihm solche Macht?”
(Blanchot, 1962, S. 11)
SIRENEN ist eine vernunftkritische Arbeit, die davon ausgeht, dass die Kategorien in denen wir denken, Worte in denen wir uns ausdrücken und Medien, in denen wir auf- und abspielen, den Sinn und die Grenzen des jeweils Denk- und Sagbaren mit erzeugen. Sie sucht deshalb Möglichkeiten, sich dieser Grenzen zu entledigen oder zumindest an diese zu stoßen und sie aufzuzeigen.
Die Soundstücke sind als Argumente zu lesen und die Schriftstücke befassen sich inhaltlich (per formal) auch mit ihrem Medium, der Sprache. Es handelt sich nicht um den Versuch, ein kohärentes Ganzes, eine Theorie oder auch nur ein schlüssiges Argument zu entwerfen, da der Logik, auf die sich all diese Formen gleichermaßen berufen, zu vieles entgeht.
SIRENEN war meine Meisterschülerinnenarbeit, die aber den Umfang einer Exposition überschreitet. Externe Links weisen zu weiteren Audiostücken, Dokumentationen und Texten.
Umfang und Struktur der Arbeit sowie die gewählten Medien wollen dazu anregen, „den Überblick zu verlieren“ (Seloua Luste Boulbina) und sich der Art von Wissen zu öffnen, das entstehen kann, wenn wir die Welt nicht (mehr) durch unsere Konzepte und Vorstellungen von ihr wahrnehmen (können).
So versuche ich beispielsweise und bitte ich die Zuhörer zu versuchen, unsere schmale menschliche zeitliche Dimension zu verlassen und uns in einem mehrstündigen Recording zu orientieren – in diesem Sinn sagt diese Arbeit, dass wir uns nicht von unseren Voraussetzungen frei machen können. Diese Ergebnisse musste ich auslagern, sie sind zu lang. Andere Stücke musste ich deshalb entfernen weil auf dem research catalogue alle Sound-Dateien zu mp3s komprimiert werden, was nicht nur für Klangkunst destruktiv ist, sondern auch Teil eines meiner Versuche war, den ich demzufolge gänzlich ausgelagert habe. In diesem Sinn will die Arbeit darauf hinweisen, dass wir unsere Konzepte sehr wohl hinterfragen müssen.
Unsere Grenzen kennen und akzeptieren zu lernen und gleichermaßen sie fallen zu lassen oder uns an ihnen zu reiben bis sie sich verschieben, bedeutet, sich im Sirenen Werden zu üben.
Während ich SIRENEN in neun Essais entwickelte, solo und in Kollaborationen, gliedert sich die Exposition in eine Einleitung und fünf Kapitel. Dies ist nicht die Repräsentation einer künstlerischen Forschung, sondern (auch da, wo es sie beschreibt und versucht zu begreifen) ein Teil derselben.
ESSAYING ART - AN UNMETHODOLOGICAL METHOD FOR ARTISTIC RESEARCH
(last edited: 2022)
author(s): Emily Huurdeman
This exposition is in progress and its share status is: visible to all.
This research is about Artistic Research education. Artistic research is a relatively new academic field where science and art are integrated. But defining this institutionalized field, and the methods and evaluation criteria of its output, is highly debated. There is no one universal definition, criteria or evaluation for this in this educational field. Which isn't surprising considering that both the artistic as scientific element can consist of a vast verity and combination of fields, topics and disciplines[1]. But definitional difficulties are also inherent to the field because the scientific and artistic methodologies are subject to different criteria. Science needs to articulate its sources, as well as its relevance and its context, and it must provide clear argumentation. Furthermore, it is strictly bound to academic and ethical rules. Art is not constraint by these methods, ethics and rules. Can we integrate the scientific and artistic in a working method?
The essay inherently embraces both the artistic and the scientific. It drifts in-between the subjective and the objective, the experiential and the intellectual. The essay expresses a train of thought, and critically reflects on those thoughts: it experiments and speculates. What if artists use the essay as an un-methodological research method? The artistic researcher approaches the topic of investigation essayistically; essaying art. The form of expression can encompass all possible artistic media, and all possible combinations of media like: writing; video; photography; sound; composition; performance and more.
In order to put this theory to the test, I have formulated an elective course for first-year students of the research master Artistic Research at the University of Amsterdam (NL). In this experimental pilot, I investigate how an essayistic approach to artistic research could be practically used as an unmethodological method for developing individual Artistic Research form and approaches. This research describes, evaluates and critically reflects on the educational project and the theoretical debate in Artistic Research.
The Role of Sound as a Component of Urban Experience is an audio-video essay that approaches urban sound as study material for sensorial analysis. An experiential experiment is carried when retransforming/playing with sensorial components of an urban dweller. Research focuses on the record of urban sound in relation to image and its proximity to cinematic/cinematographic experience. Playing with sensorial components reveals not only their influence on our ever-day perceiving of urban space but also the aesthetical nature of casual walks in the city. In other words, an analytical approach to urban sound reveals how cinematic everyday urban experience is or how cinema's sensorial base finds itself in the one of an urban dweller.open exposition comments (0)