Composing Technique, Performing Technique
(2021)
author(s): Scott McLaughlin, Zubin Kanga, Mira Benjamin
published in: Journal for Artistic Research
Technique as the entanglement of composition and performance as an epistemic object (Knorr Cetina) emergent from contingent materiality. Two pieces by Scott McLaughlin—respectively for Zubin Kanga (piano) and Mira Benjamin (violin)—are discussed as case studies of strategies for entwining the specific embodied techniques of instrumental performance with the material agency (Pickering) of the instrument as a 'material indeterminacy' in which knowledge inheres through practice (Spatz). This exposition situates the artistic research as a novel conceptualisation of 'technique' that treats composition and performance not as separate domains but as an Ingoldian 'meshwork' where virtual structures in the performance technique are amplified through processes of listening and through compositional structures into open-ended local feedback loops.
The Emergent Artistic Object in the Postconceptual Condition
(last edited: 2023)
author(s): Jack Segbars
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The dissertation of Jack Segbars investigates the fabric and the infrastructure of contemporary artistic production. The focal question is how the contemporary field of institutional artistic production is organised and how the relations between its actors and functions: artists, curators, institution, governance and theory are structured, and how the artistic object that results from their interaction is produced. The backdrop of this investigation, is the condition of cognitive capitalism. Production and working-relations in late capitalism as analysed by Paolo Virno, are characterized by the primacy of communications. It presumes that no longer there is a clear demarcation between aesthetics, labour and politics in the general make-up of production and economy.The second backdrop is the postconceptual condition, as formulated by British philosopher Peter Osborne. He describes how the authorship of the art-object has shifted to the institutional platform (museum, presentation-space) and how the ‘project’ has become the general form of production. This situation particularly affects artistic production and the relationships between the main actors in regards to who holds the authorship over the artistic object. Both these movements have led to significant changes in how to consider the status of authorship in artistic production. Together they shape the theoretical basis for the research.
From Problem Solving to Improvisation in Filmmaking
(last edited: 2020)
author(s): Jackel Chow
connected to: Stockholm University of the Arts (SKH)
This exposition is in progress and its share status is: visible to all.
This exposition provides the insight of indeterminacy during improvisation, as well as the reflection process of how I converted my problems-solving skills to planned improvisation during the adverse filming condition of my graduation feature film production.
I define Improvisation as a way to be adaptive and flexible in uncertainty, while problem-solving as a solution to overcome the obstacles faced.
I started from an ambitious goal by making a feature-length hybrid film for my graduation showcase in my two years of master study. Facing problems like lack of money, insufficient network to find talents and limited time to acquire local knowledge of the working styles in the country, I met a lot of challenges. When I solved the problems one by one within this filmmaking process, I gradually realized I relied quite a lot on improvisation. It does not only apply on the set when I worked with the actors, but also on scriptwriting, crew recruiting, locations scouting, shots creation, etc.
The turning point for me to change from coincidental (unplanned) improvisation (because it is needed with problem solving) to deliberate (planned) improvisation started from my second half of principal photography (or simply called production/filming) stage because more uncertainty emerged and I started to get used to such style.
At the end, I made two versions of the films with different levels of improvisational practice. I will reflect my whole filmmaking process and its connection with improvisation from my film products.
Technique as the entanglement of composition and performance as an epistemic object (Knorr Cetina) emergent from contingent materiality. Two pieces by Scott McLaughlin—respectively for Zubin Kanga (piano) and Mira Benjamin (violin)—are discussed as case studies of strategies for entwining the specific embodied techniques of instrumental performance with the material agency (Pickering) of the instrument as a 'material indeterminacy' in which knowledge inheres through practice (Spatz). This exposition situates the artistic research as a novel conceptualisation of 'technique' that treats composition and performance not as separate domains but as an Ingoldian 'meshwork' where virtual structures in the performance technique are amplified through processes of listening and through compositional structures into open-ended local feedback loops.open exposition comments (0)