Unburying, from Liminals, Emerging: Three Contexts for a Microtonal Prepared Piano
(2025)
author(s): Matt Choboter
published in: Rhythmic Music Conservatory, Copenhagen
Can an acoustic grand piano be sonically and conceptually reimagined so as to re-negotiate its foundational assumptions around tuning and timbre? Why should the piano continue to be so accustomed to only one tuning system? In contrast, how can “pure sounds” (ratios found in the harmonic series) co-exist with ethnically diverse microtonal tunings?
Spanning a period from 2020-2022, “Unburying, from Liminals, Emerging” explores a microtonal prepared piano in three artistic contexts. These include: a solo project called “Postcards of Nostalgia; a chamber ensemble consisting of saxophone trio, percussion and piano; and a “percussion ensemble with soprano saxophone called Juniper Fuse.
Dialoging with a newly invented tuning system, what emergent properties might we find when magnetic piano preparations are used to evoke specific timbral effects from Balinese Gamelan and Indian Karnatik music? Collectively, how can this expanded notion of “piano” merge with spatialization to facilitate interactive experiences for audiences? How might a process-oriented Jungian-inspired dream work communicate itself so as to distill and coalesce a fertile musical landscape?
(NOT) ENTERING EVERY ROOM - Exploring autosociobiographies via liminal crossing points of social class and the emotion shame
(2023)
author(s): Barbara Wolfram, Christina Wintersteiger
published in: Research Catalogue
(Not) Entering Every Room, conducted 2020/21 at Film Academy Vienna/ mdw - University for Music and Performing Arts Vienna, set out to use the emotion shame as a focus to reveal and explore unconscious liminal crossing points in our biographies and perceptions of social class, building on our previous research on cinematic (auto)sociobiographies (2020).
We are shaped, guided and scarred by our socialization and the society surrounding us. Each individual history brings with it a different knowledge repertoire about what belonging or not-belonging, „normal“ or „abnormal“ means. Spoerhase (Politik der Form 2017) describes the exploration and disclosure of one’s own biography in relation to social context & class, to one’s body, time & place of birth as “auto-sociobiographical”. He refers to the literary works of Annie Ernaux or Didier Eribon where individual life stories evoke a collective memory of a certain time and place, revealing liminal experiences of social class. One emotion that was mentioned more often than any other in these literary works, was shame.
To explore our own histories of experiences and the attached knowledge repertoire, we used the methodology of collective (auto)sociobiographical exploration via a multi-layered artistic approach. Body work (Chechov, Shdanoff), writing improvisations and group explorations via zoom were used to probe the methodology of (auto)sociobiographical exploration in the light of shame and social class.
Research on cinematic (auto)sociobiographies is still very new. We aim at contributing a method of exploration to the field of cinematic form and content production informed by artistic research methods.
LGP Performative method
(last edited: 2025)
author(s): Lorena Croceri
This exposition is in progress and its share status is: visible to all.
LGP Performative Method
Embodying Creative Transitions Through Project-Based Immersion
The LGP Performative Method is a transdisciplinary support system designed for artists, entrepreneurs, and hybrid professionals navigating complex creative transitions. Rooted in performance, psychoanalytic insight, and ritualized thinking, the method invites participants to engage deeply with their emotional landscape and personal image as they develop projects that are both intimate and public.
This article presents the conceptual pillars and the evolution of the method through performative installations, site-specific experiments, and testimonial archives. Unlike coaching or therapy, LGP works by immersive presence and symbolic acts that reorient the practitioner in relation to their project, their desire, and their audience.
With a focus on Erotic Leadership, Liminal Psychoanalytic Fashion, and Project Reconfiguration, the method offers a dynamic toolkit to support non-linear processes and facilitate creative emergence. The piece includes visual documents, field notes, and reflections on what it means to be a body-in-process building something real.
Performative paradigm for businesses
(last edited: 2025)
author(s): Lorena Croceri
This exposition is in progress and its share status is: visible to all.
Performative Paradigm for Businesses
Reconfiguring Strategy, Presence and Creative Leadership
This article introduces the Performative Paradigm as an innovative framework for business development, leadership and strategic positioning. Moving beyond traditional rational models, the performative approach integrates embodiment, narrative, and emotional architecture into the very core of professional structures.
Rather than separating personal presence from strategic decision-making, this paradigm understands the body, desire, and symbolic expression as essential tools for navigating uncertainty and generating sustainable innovation. Drawing from performance studies, psychoanalytic thinking, and affect theory, the article explores how performative logic can be applied to projects, teams, and leadership styles—especially within multidisciplinary or creative industries.
Far from being abstract, the paradigm proposes concrete methodologies and real cases where performative alignment has shifted business dynamics: from burnout to embodied clarity, from fragmentation to integrated vision. Aimed at entrepreneurs, consultants, and visionary leaders, this article opens a liminal path where doing and being converge.
Las guerras púdicas (performative installation)
(last edited: 2025)
author(s): Lorena Croceri
This exposition is in progress and its share status is: visible to all.
In this exhibition the concept of responsibility is linked to performance art through the analysis of the performative installation Las guerras púdicas (2019).
TOWARDS A SCENOGRAPHY OF THE SELF
(last edited: 2024)
author(s): Cezara-Maria Gurau
This exposition is in progress and its share status is: visible to all.
Wednesday, 21st of February 2024
23:23
52 degrees, 5 minutes, 51 seconds North;
5 degrees, 6 minutes, 19 seconds East.
The night has settled.
The sky is clear.
The city is quiet.
Mind flows through fingers.
I am here. And, now, you are here as well, but on the other side.
And while we are far away from each other, I hope distance will bring us closer.
And as you continue to read, I welcome you in the in-between.
What is the last dream you had that you can remember? Is there a dream you can never forget?
For 3 years, I had a recurring dream.
There was a house with the entrance on the back. A spiral staircase would lead to a massive old wooden door. Sometimes, it would open by itself. Other times, specific people would welcome me inside. Only on certain occasions I would open it myself. Once the way would be revealed, before me, there was always a very long, red corridor.
Transitioning is always about taking the time and observing the movement; afterward, it is about noticing how you become it, how it transforms you.
When I would least expect it, there was the door to the other side. From there, I could travel anywhere.
After a while something changed. I was left only with its memory.
For the second time, in the past 5 years, I decided to move away from the familiar, and root elsewhere. Little did I know back then, how much the spaces that we are in shape us. They offer a glimpse into ourselves.
During the time I was beginning again, I would frequently close my eyes, and after a while, an endless underground tunnel would appear behind my eyelids.
In the far distance, a light.
Try as I might to reach it, it turned out to be impossible. The path would curve every time, forming a spiral.
"Maybe you should stay more in the liminal", said Henny Dörr during a research presentation.
And I did.
Once the metaphor of this space was consciously and subconsciously embodied, I came closer to understanding the grounds of this (re)search:
encountering spaces, facing oneself, and meeting the other.
In this exhibition the concept of responsibility is linked to performance art through the analysis of the performative installation Las guerras púdicas (2019).open exposition comments (0)