DAYS IN BETWEEN
(2020)
author(s): Marianna Christofides
published in: VIS - Nordic Journal for Artistic Research
In accordance to generic tropes in the way the Balkans are represented, conflicts in the region are repeatedly ‘naturalized’ in their description, and attributed geological-seismological features. With the essay film Days In Between Marianna Christofides and her collaborator Bernd Bräunlich recursively visited the Balkans between 2011 and 2015, at first seeking out littoral borders where the course of the boundary remains indefinite. Rivers as invisible yet politically instrumental borders was one of the initial narrative strands. Having lost the first few years worth of audiovisual material, the data on the hard drive being unretrievable, they decided to return, only to find that the places no longer existed in the same way. Both topography and social fabric in ceaseless flux. Their approach extended accordingly, now focusing on loss, omissions, obfuscation and disappearance. The appropriation of nature’s workings in political discourse came to the fore. As did the filmmaker’s inhibiting yet empowering fringe location. Through a reflective lens of doubt agency was re-calibrated. The project grew wider in a recurring attempt at approaching, and began to expand, up until the present and in multiple iterations. Within this non-finite process the constant failure, and the beginning anew, became integral parts of the narrative.
Exploring the space within intervals: an approach on different ways of shifting on cello
(2016)
author(s): Alexis Bove
published in: KC Research Portal
After listing the different ways of shifting and looking for direct applications in the repertoire, my goal was to enhance the accuracy of my shifts.
Looking for different approaches in order to raise accuracy brought me to three different conceptions about practicing.
The first approach refers to have a clear idea of the body movement required to achieve the different types of position change. However, according to recent studies, this approach using an internal focus (focus directed to the movement itself) tends to be less effective than using an external focus (focus directed to the effect of the movement on the environment).
Therefore the second approach consists in anticipating the sound as an external focus as well as developing the geography of the instrument. Nevertheless, anticipating the sound and knowing where a sound is located on the instrument does not include a musical context. Consequently the last approach is related to the goal conception as well as the practice of the musical intention.
My main conclusion is that musical intention should be the main concern of the artist in his practice, which will lead to a more authentic approach in his artistic development. Besides, I encourage musicians to use goal setting in their daily practice to develop awareness of their intention, which will help to have a better view of what method to use to reach the desired result. The last approach which is motivated by the musical intention should encourage teachers to use instructions based on an external focus in order to help the student finding his own voice in music.