The Sonified Textiles within the Text(il)ura Performance: Cross-cultural Tangible Interfaces as Phenomenological Artifacts
(2022)
author(s): Paola Torres Núñez del Prado
published in: VIS - Nordic Journal for Artistic Research
This research is working with Sonified Textile Controllers. They can be described as textile sensor-based tangible interfaces. Some of them are part of a disruptive sound performance – an experimental sound art concert that has been presented in various cities in Europe and the Americas called "Text(il)ura"[1]. The three fiber-based controllers presented as part of this performance, The Shipibo Conibo-Style Textile, The Hanap Pacha Quipu, and the Unkuña of Noise, all reference the cultures of Paola Torres Nunez del Prado’s country of origin, Perú. These textile artifacts are works of art as well as devices that fall within the scope of smart textiles and that of human-computer interaction, as they allow the user to experiment with alternative ways of approaching the execution of sound art or electronic music. Referring to both aesthetically and symbolically distinct forms of expression from diverse human communities, these cross-cultural devices are characteristically hybrid and ever-changing: history, myth, craft and technology, gender, transhumanism, sound, visuals and tactility – everything is intertwined in an amalgamation of human knowledges and experiences aiming for a type of universality that does not impose one thought system over the other. The design of the interfaces proposes a different approach to tactile manipulation of electronic sound instruments, where it is common to find controllers made of metal or plastic, and where the aural and tactile sensitivity with which they are first made, transforms the performance itself. The Sonified Textiles aim to redefine musical interfaces, both conceptually and design-wise within the e-textile realm. The research uses a phenomenological framework to go beyond the mind-body dualism and to reconnect with the natural world.
Monsters I Love: On Multivocal Arts
(2019)
author(s): Alex Nowitz
published in: Stockholm University of the Arts (SKH)
Proposing a ‘multivocal practice’ in the vocal arts, this exposition (documented artistic research project) embodies an inclusive approach to four core categories for the contemporary performance voice: the singing, speaking, extended and disembodied voice. The culmination of a four-year PhD project in Artistic Practices (Performative and Mediated Practices, with specialisations in choreography/film and media/opera /performing arts), it documents artistic research sub-projects through the presentation of multimedia material, interweaving performance recordings with reflective and contextualising texts. Multivocality addresses various models of virtuosity, all of which are informed by a multi-faceted artistic knowledge, whether experimental or experiential, technical or technological, improvisational or compositional. Contemporary vocal performance practices are loaded by questions pertaining to detecting and solving technical issues that span the vocal domains. Through a range of artistic practices—vocal, oral, bodily and technology-related—the research project unfolds what is conceived as a bountiful ‘vocal imaginary’. When voice and body meet technology-related practices that aim at the expansion of the vocal realm by using custom and gesture-controlled live electronics, a performance æsthetics of the in-between emerges. This is explored via the ‘strophonion’, formerly built at STEIM in Amsterdam and, during the course of the PhD, further developed by Berlin-based software programmer Sukandar Kartadinata who created an intricate configuration on the basis of the audio processing application Max/MSP. Through the formulation and performance of ‘The Manifesto for the Multivocal Voice’—a ‘discursive solo performance act’ that aims to provide insights into principles and premises, and to develop the discourse on the politics of today’s performance voice—the exposition attempts to establish a potential theoretical and philosophical grounding for multivocality. Its second major concern relates to the poetics of the voice, investigating the thresholds of highly individualised vocal practices by asking: what are the boundaries of the contemporary performance voice? The exposition (on the Research Catalogue) comprises video and audio documentation of public live performances, lectures and artists’ talks as well as studio productions and rehearsals. The user is invited to study scores and various texts, such as poems, extended programme notes, translations, performance instructions, comments and other reflections. The collection of essays and articles that guide the user through the edifice of ideas that the artistic research project has unveiled remains central to the endeavour.