Site Awareness in Music – recontextualizing a sensation of another place
(2020)
author(s): Knut Olaf Sunde
published in: Norwegian Academy of Music
The project argues that a sensation of another place is vital to the recognition of unfamiliar perspectives.
Space and sound are inextricably connected. The surroundings and context are central to how we perceive external stimuli, such as images, events, history, ideas or music. The brain interprets and make choices by association, based on what the body perceives and based on previous knowledge and experience. How humans listen, hear, see, perceive, interpret and react to our surroundings are based on our cognitive structures.
An unformatting of society is needed.
A risk makes the body and brain aware and alert. Adrenalin is released to the blood, enabling the organism to sudden and severe effort. Risk implies something unestablished, uncertain, a danger, something unknown. Risk implies the possibility of failure and ultimately death. Risk increase anxiety and excitement, enabling the alertness needed to maneuver away from or solve problems. When something is at stake, interest is set into play. The unknown is by its very nature beyond the body’s experience.
The project is about increasing the awareness of the situational and contextual implications of music. This is enquired through three works. For each site or situation I work with, I analyze its characteristics, such as acoustical conditions, the relations of the place to its surroundings, the shape of the landscape and historical or political context.
I try to create immersive, audiovisual projects that are connected to a certain place.
I aim to involve qualities and characteristics from the place, shaping a conversation, putting something at stake.
I conceive a music activating the place, making created situations.
I do this because there is a close link between memory, comprehension and place.
The sense of place and ability to navigate is essential to our memory and bodily existence in the world.
Main supervisor: Ole Lützow-Holm
Second supervisor: Marianne Heier
Artistic research in breeding : The Bifrost Eucalyptus project
(2019)
author(s): Jens Staal
published in: Research Catalogue
Genetic signs of domestication of plants and animals date as far back as the oldest known evidence for other artistic expressions like painting, music and sculpture. Breeding is often seen as a science or a craft and is rarely considered art. The Bifrost art project aims to combine the spectacular bark and growth rate of the rainbow gum Eucalyptus deglupta with the cold hardiness of the cider gum Eucalyptus gunnii and possibly other cold-hardy species. The cold hardiness introgression should make it possible to grow amazing rainbow-colored trees in a European or North American climate. The project has been initiated and is expected to continue for decades or centuries in a distributed, participatory, manner. The project explores breeding as an art form, and through extension landscape and ecosystem manipulations that may last beyond the time when human kind has driven itself to its extinction. The project also questions commonly held beliefs about “pristine” and “natural” as being better than “artificial” and “anthropogenic”.
Shuttling
(2015)
author(s): Mick Douglas, Beth Weinstein, James Oliver
published in: Journal for Artistic Research
This exposition investigates practice-as-research dynamics through a project titled ‘Shuttle’, from which emerged a practice of ‘shuttling’ as a layered modality for processing methodological artistic research. An international crew of artists, designers, and performance makers enquire into peer-to-peer creative practice development: practices unfolding through the dramaturgy of a twenty-day, four-thousand-mile mobile performance-research journey in the deserts of the North American south-west. We trace the dynamics of a practice-as-research milieu through a suite of artistic operations, performatively elaborated through this rich-media exposition. Through ‘shuttling’, we generate parafunctional performative spaces and temporalities. Our spatio-temporal and sensory mode of research – conditioned, co-created, and situated as a mobile laboratory – posits reflexivity as an embodied practice, as a medium of ‘shuttling’ with the dynamic emergence of creative research practices.
Co-sounding: Towards a Sonorous Land
(last edited: 2023)
author(s): Budhaditya Chattopadhyay
This exposition is in progress and its share status is: visible to all.
Co-sounding: Towards a Sonorous Land is an artistic research that delves into an Acoustemological unpacking of the landscape, focussing on the site of Amstelpark. The project intends to inculcate a dialogic context within which an intersubjective approach to the perception of land as an equitable habitat of human and non-human lifeforms is developed. This mode of reciprocity and intersubjectivity helps to counteract the nature-culture binary with an ambient and environmental aesthetics in sound arts.
Project partners:
Zone2Source, international platform for art, nature and technology
Educational partners:
Honours Lab, ArtEZ University of the Arts
Project assistants:
Tobias Lintl (Academy of Fine Arts Vienna) - design and production support
Christoph Kummerer - coding support
Bidisha Das (KHM Cologne) - system and engineering support
Yann Patrick Martins (IXDM Basel) - coding support
Land walks
(last edited: 2020)
author(s): Annabel Schouten
This exposition is in progress and its share status is: visible to all.
For this work I walked the land and shaped circle paths. The result of repeatedly walking over and over the paths has an aesthetic value, at the moment there are seven circles visible from repeatedly walking over the created paths.
The aesthetic sight does not cover all of the meaning for me, therefore I decided: "The artwork is the experience of the walker, the movement that is taking place and has taken place. You can experience the artwork by walking the circles".
On this Logbook page you can read about the experiences of the walkers, it's in Dutch because all of the walkers are from the Netherlands
For this work I walked the land and shaped circle paths. The result of repeatedly walking over and over the paths has an aesthetic value, at the moment there are seven circles visible from repeatedly walking over the created paths. The aesthetic sight does not cover all of the meaning for me, therefore I decided: "The artwork is the experience of the walker, the movement that is taking place and has taken place. You can experience the artwork by walking the circles". On this Logbook page you can read about the experiences of the walkers, it's in Dutch because all of the walkers are from the Netherlandsopen exposition comments (0)