Expanding Public (Im)Possibilities
(2025)
author(s): Xenia Tsompanidou
published in: Research Catalogue
Documentation of the 'Expanding Public (Im)Possibilities' gathering, an international gathering of disciplines that perform public space |
Organized by the Fontys Professorship Artistic Connective Practices, Fontys MA Performing Public Space and Fontys Journalism.
ANALYZING WITH THE ARTS
(2024)
author(s): Iselin Dagsdotter Sæterdal
published in: University of Inland Norway
This exposition explores the following question: How might an analysis be done in post-qualitative inquiry and performative approaches?
Considering that post-qualitative inquiry rejects pre-existing research designs, methods, processes, procedures, or practices, and acknowledging that a research process will unfold and materialize differently in different projects, my aim is to explore one possible approach to analysis. This approach explored herein is specific to my PhD project. At the same time, I invite you to re-turn (to) the pieces you find fruitful and adjust them to your research.
The research material being analyzed in this exposition is informed by my PhD project, which explores what might materialize in the matter of digital musicking when a loop station and 1–3-year-olds meet each other in a kindergarten context.
Exploring how an analysis might be done in post-qualitative inquiry and performative approaches, and as the title plays on, the method of analyze is with the arts and take an arts-based approach.
This exposition contributes to the fields of early childhood music education, post-qualitative and performative inquiry, and arts-based research.
This exposition is included in the anthology "Utfordringer og muligheter innen musikk og utdanning", or "Challenges and Opportunities in Music and Education" in Enlgish. The anthology is published as part of MusPed:Research by the Cappelen Damm Academic publishing house. MusPed:Research is a peer-reviewed series of scholarly publications within the field of music pedagogy. The anthology, of which this exposition is a part, has been peer-reviewed, and this extends to this exposition as well.
Human Voice and Instrumental Voice: An Investigation of Voicelikeness
(2023)
author(s): Paola Livorsi
published in: Research Catalogue
This artistic research explores the relations between human and instrumental voice (in the case of string instruments), seen from an embodied and performative point of view. The question originates from from my experience of violinist and composer.
Voice is a unique mark of human identity: if this is particularly true for vocal timbre, something similar is at play in the ‘instrumental voice’, as a unique expression of personal and musical identity. This research aims to uncover the importance of the vocal and instrumental relations, acknowledging their common embodied nature and shared origins. As utterances directed at the ‘other’, both human and instrumental voice are deeply relational.
From 2016 to 2022, I investigated the question of voicelikeness between a musician’s voice and their own instrument through five multidisciplinary art projects: in Imaginary Spaces fragments of individual and collective voice inhabited a performative environment shared by musicians and audience; The end of no ending focused on the relationships between two female voices and their mutable surroundings; Between word and life explored the multiple relations of voice and instrument in an electroacoustic space, de-multiplied by bringing in dance and video; Sounding Bodies gathered human and mechanical bodies to explore an unconventional space, inviting the audience to follow their path; Medusa was a music theatre work putting into perspective the question of voicelikeness by evoking Italian Early Baroque music, visual art, and dance.
This artistic research was carried out through an artistic process, with supporting methods such as grounded theory, ethnography, and autoethnography, creating a virtuous cycle between practice and theory, with some interesting and unexpected changes taking place in my artistic journey. The research outcomes consist of a written part combined with a collection of traces, sounds, images, and video examples presented on the Research Catalogue.
The theoretical framework for this inquiry includes recent studies in paleoanthropology, human development, music psychology, and embodiment. Cavarero’s philosophy of voice, Arendt’s philosophy of the ‘in-between’, various philosophies of the ‘other’, as well as a few contributions from psychoanalysis are put in mutual dialogue with my artistic practice.
Among the research outcomes are the re-evaluation of vocal layers in personal and musical identity, considering music making as a relational practice, and an exploration of the porous boundaries between the roles of composer, performer, and listener. In this perspective, the new terms to ‘in-hear’ and to ‘co-hear’ respectively denote an attention to inner sounds, and toward one another in a community of listeners.
Keywords: voicelikeness, artistic research, in-between, relationality, embodiment, performative space
Reaerch Fellow at Apass
(2022)
author(s): Christina Stadlbauer
published in: Research Catalogue
This post master program called Apass enables me to engage deeper with my artistic process and work profoundly with research questions and artistic research. The institution Posthogeschool voor Podiumkunsten is located in Brussels.
The proposed topics of my research revolve around other than humans, the imaginary Institute for Relocation of Biodiversity and the philosophy of Kin Tsugi that follows the principles of Wabi Sabi and imperfection.
Kotini joki – Betoniin piirtyvä hiljainen vastarinta ja vastarinnan performatiiviset ulottuvuudet
(2021)
author(s): Mari Mäkiranta
published in: RUUKKU - Studies in Artistic Research
Tutkimusekspositioni keskiössä ovat pohjoisen jokialueilla toimivan aktivistiryhmän voimalaitoksen betonisiin ja alumiinisiin seiniin vuosina 2019–2020 maalamat, joen valjastamista kritikoivat kirjoitukset ja kuvat sekä erityisesti niiden poistamiseen liittyvä prosessi. Maalausten – erityisesti niiden jättämien tahrojen ja poistojälkien – pohjalta rakentamissani valokuva- ja videoteoksissa vuorottelevat melu ja merkityksistä tiheä hiljaisuus. Voimalaitosmiljööseen tehdyt maalaukset kehottavat ja vaativat, kamppailevat alisteisten tai marginaaliin jäävien ryhmien, luonnonsuojelijoiden ja kala-aktivistien rinnalla pohjoisen jokien käyttötarkoituksista ja luontoarvoista. Maalausten signaali asettuu poikkiteloin hallitsevien sääntöjen, energiayhtiöiden intressien ja yhteiskunnallisten järjestysten kanssa. Myös valokuva- ja videoteokseni kantavat mukanaan kamppailuja – ironisia kannanottoja ja merkitseviä muotoja siitä materiaalisesta semiosiksesta, jossa kuvat ja kirjoitukset muokkaantuvat kerroksiksi, pinnoiksi, umpeen maalatuiksi ja poispestyiksi, hauraiksi ja huokoisiksi vastarinnan signaaleiksi.
Valokuvateokseni (Virtaavaa 2020; Sulava maali 1-8 2020; (Epäonnistunut)) Lohitapetti 2020) ovat merkitsevän muodon näkemistä siinä, missä toinen näkee töhryn, lian tai sotkun. Videoteokseni (Siivouspäivä 1–3, 2020) ovat saaneet inspiraationsa jokiaktivisteille annetusta kehotuksesta siivota jälkensä. Siivoaminen – kuten myös taideaktivismin harjoittelu – on videoteoksissani osa performatiivista prosessia, jossa sitoudun kulttuurisiin toistokäytänteisiin, kuten ”oikein” tekemiseen, mutta jossa jää tilaa myös toistokäytänteiden ironiselle haltuunotolle, leikille ja liioittelulle.
Luonnonympäristö, valjastettu joki, on täynnä ristiriitaisia merkityksiä: hiljaisuutta ja melua, ihmisen rakentamaa infrastruktuuria ja ”koskematonta” luontoa. Betoniin maalatut kirjoitukset ja kuvat ovat nekin konfliktisia – huokoisia ja hauraita, metelöiviä, hiljaisia. Hiljainen vastarinta ei kuitenkaan taivu kahtiajakoihin, aivan kuten ympäröivä pohjoinen luontokaan ei näyttäydy vastakohtaisuuksina. Kuten Veli-Pekka Lehtola ja Outi Autti (2019) kirjoittavat, hiljaisen vastarinnan tekojen motiivit vaihtelevat. Paikoin vastarinta jää pimentoon, ja aika ajoin sen signaalit on määrä tulla kuulluiksi ja nähdyiksi.
taiteen vaikuttavuus
(2020)
author(s): Pekka Kantonen
published in: RUUKKU - Studies in Artistic Research
Vaikuttamisen festivaali oli vuosina 2016–2018 Baltic Circle -teatterifestivaalin osakokonaisuus, jossa etsittiin ja tutkittiin taiteen mahdollisuuksia vaikuttaa ja luoda vaikuttavuuden tiloja. Tämä ekspositio käsittelee taiteen vaikuttavuutta käsittelevää taiteellista tutkimustani, jonka toteutin festivaalin osana. Sovelsin tutkimuksessa tohtorintyöni metodia, videokuvan sukupolvittelua (Generational filming). Haastatteluissa tiedustelin festivaalin tekijöiden ja osallistujien näkemyksiä festivaalin vaikuttavuudesta. Haastattelin heitä sekä ennen tapahtumaa että sen jälkeen. Jälkimmäisessä haastattelussa kukin haastateltava näki koosteen edellisestä kerrasta ja reflektoi aiempia kommenttejaan. Projektin lopussa järjestimme työpajan, jossa keskusteltiin taiteen vaikuttavuudesta kuvaamieni videoiden pohjalta.
Tutkimuskysymykseni nousevat saamastani työtehtävästä: Mitä videokuvan sukupolvittelun avulla voi kertoa festivaaliin osallistuvien näkemyksistä taiteen vaikuttavuudesta? Mitä metodi tuo esiin taiteen vaikutuksesta festivaalin osallistujiin? Millä tavalla metodi tuo esiin osallistujien näkemyksiä taiteen yhteiskunnallisesta merkityksestä? Millaista itsereflektiota metodi synnyttää? Vaikuttavatko videoidut haastattelut kokemukseen taiteesta? Mitä metodi tuo esiin taiteen mitattavuudesta? Mitä taiteellinen lähestymistapa tuo taiteen vaikuttavuuden tutkimiseen?
The aural garden of sounding materials: performing within the materiality of Et in Arcadia ego-music performance
(2018)
author(s): Assi Karttunen
published in: RUUKKU - Studies in Artistic Research
'Et in Arcadia ego'-music performance is an auditory garden deriving its inspiration from 17th-century European meditation gardens. It was premiered at the Helsinki Music Centre in autumn 2016 and performed again in summer 2017 as a part of the Venice Research Pavilion of the University of the Arts Helsinki.The performance was initiated as my KeKe-project 2014 (Sibelius Academy’s former Development Centre, KeKe) and the research question was, how to develop classical music’s performance practices by subtly varying its performative parameters. By pre-recording organic sound material related to wooden instruments like organ pipes, psalteries and harpsichords, including also concrete sounds of wood, cones, stalks and sticks, these sounds were projected into the concert venue and heard among the music repertory and alive improvisations. Moreover, I wanted to pose a question, whether a concert venue could be understood as a compound of resonating elements and shapes. Is it possible to animate the concert venue by studying its auditory features more carefully? The 'Et in Arcadia ego'-performance develops performativity of classical music by subtly varying and extending its performative techniques. This artistic research is articulated in line with phenomenologists such as Don Ihde and Maurice Merleau-Ponty and philosopher Gaston Bachelard.
Enacting Agential Cuts - Notes on the Untitled 1-3 (2014)
(2018)
author(s): Heidi Tikka
published in: RUUKKU - Studies in Artistic Research
The exposition is a visual-textual essay in which I explore Karen Barad’s agential realism in conversation with my installation “”Untitled 1-3” consisting of three interactive artifacts: knitted dress-like objects, responding to touch. An installation is understood here as an ongoing process of materialization which assumes different instantiations over time. I will approach these in dialogue with Barad’s concept of the “agential cut”, inquiring into three “cuts” in which the installation is enacted in three different configurations.
LOVE LETTERS
(last edited: 2024)
author(s): Joonas Lahtinen
This exposition is in progress and its share status is: visible to all.
LOVE LETTERS is an ongoing multimodal artistic research project exploring strategies and politics of participation, love letters as a form of communication, performativity of text and writing, intimacy and (imagined) boundaries between the "private" and the "public", forms of fandom, discourses on liveness, and the materiality and performativity of the LED ticker as an artistic medium.
PROJECT TIMELINE AND CONTRIBUTIONS
2024 // Lecture Performance "How to Facilitate Careful Listening and Non-Coercive Participation in Artistic Research? LED Tickers and Love Letter Writing as Research Tools", Forum Artistic Research // Symposium "Listen for Beginnings", Gustav Mahler Private University Klagenfurt
(Proceedings article forthcoming in 2025)
2023-2024 // Participatory installation at the Kunstzelle // WUK Vienna and Vienna Art Week 2023 festival
2020-2022 // Experiments within the frame of the artistic research project "TACTICS for a COLLECTIVE BODY" at the Royal Academy of Fine Arts Antwerp and the Royal Conservatoire Antwerp, PI's: Renata Epifanio Lamenza and Stef Assandri
2021 // video contributions LOVE LETTER TO JENNY HOLZER and WHEN? WHEN? WHEN? in the Facebook Lockdown Calendar of WUK performing arts Vienna
PERFORMATIVE THEOLOGY
(last edited: 2024)
author(s): Network for Performative Theology
This exposition is in progress and its share status is: visible to all.
The purpose of this exposition is to collect data of what Performative Theology can be and become primarily within an academic research but also beyond. The expo will be a timespace nurtured by members the Network for Performative Theology, established 6 October 2022 in Oslo.
Thy will be done. DOING Theology THROUGH Diffractive Methodology
(last edited: 2024)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
The overall purpose of this thesis is to perform and propose diffractive methodology as a means for exploring, reading, learning, and understanding systematic theological discourses beyond binary and oppositional thinking. This methodology is based on performative strategies and feminist new materialist theory, with a specific focus on Karen Barad’s ethico-onto-epistemological agential realism theory; it can also be considered an alternative to a more traditional academic reflexive methodological approach, thus allowing for an infinite number of explorative methods to be developed within its umbrella definition of diffractive methodology. The diffractive analysis in this study is shaped as an intra-active entangled reading of Graham Ward’s Engaged Theology, through Erika Fischer-Lichte’s Performance Aesthetics, and the method I call Voicing-as-Performative-Theology. This thesis is divided into three parts. Part I unfolds relevant terminology. Part II performs the actual diffractive reading analysis. Part III consists of a concluding essay summarizing the outcome of this study’s diffractive reading, as well as opening up suggestions for how diffractive methodology can be applied for developing more performative and diffractive methods as part of future theological research.
The thesis will be presented at University College Stockholm (EHS), in January 8 2024.
Leçons de Ténèbres
(last edited: 2023)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
The aim of this project is to investigate vocal ornamentations in French baroque composer Michel Lambert's (1610-1696)'Leçons de Ténèbres. It is an artistic research project where vocal performance practice is diffracted through Karen Barad's theory on agential realism and Japanese philosopher Kitarō Nishida's concepts of Action-Intuition and Basho.
Word and Whetstone: Perspectives on Writing at the Intersection of Art and Academia
(last edited: 2023)
author(s): Maya Rasker
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Maya Rasker in only available in Dutch. The English version will be ready later in 2023.
The position of writing within the domain of artistic academic research is not self-evident. In academia, standard practice is to use writing for the transfer of knowledge: it is a means of communication. In the practice of (nonlinguistic) artistic research, the outcome is also often contextualized in a written argument. This leads to the paradox that, if writing as an art form is to be relevant in and for artistic academic research, it must relate discursively to itself in its own medium in order to achieve that relevance. This paradox has been embraced in this dissertation and research.'Word and Whetstone. Perspectives on writing at the intersection of art and academia' is the outcome of inquiry into the epistemological possibilities and characteristics of writing. The question is whether and how writing as a communication vehicle and as an art form can also serve as a knowledge generator. To investigate this, the practice of writing is thought of as an experimental system, analogous to the scientific experiment. Processes of narrating and annotating generate a dialogical encounter for new insights as well as providing a structure. The material is both the object of research and method.
HALL09 - Vilnius
(last edited: 2022)
author(s): Breg Horemans, Siebren Nachtergaele, Gert-Jan Stam
This exposition is in progress and its share status is: visible to all.
This page is part of TAAT's Live Archive. It's an attempt to structure the archival material of the project HALL33. We focus on scripting a specific workshop-performance that took place Match 10-11th in Vilnius, Lithuania. For this workshop-performance embedded researcher Siebren Nachtergaele (UGent/HOGent) was part of the team as an inside/outside eye in co-assembling of this script/archive page. This page functions as a residu of an embodied and reflective proces, visually meandering between action and extraction. TAAT is founded in 2012 by Gert-Jan Stam and Breg Horemans.
Searching for a Soul of Things
(last edited: 2022)
author(s): Maria Komarova
This exposition is in progress and its share status is: visible to all.
Through exploring different ways of relating to things, surprising connections appear. The research catalogue
"Searching for a Soul of Things" introduces strategies for rethinking the materiality of everyday objects and revealing the multiplicity of narratives behind them. It tends to verify theoretical concepts from the field of new materialism and object-oriented ontology in the context of scenographical practice. The research analyzes practical experiments and transforms them into an interactive 2D environment.
VOICE: An Imaginary Ir/Rational Figure of Any Thing
(last edited: 2022)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
The voice presented in this NO PAPER PRESENTATION cannot be imagined as separated from any bodily act or matter. It intoxicates all along without an end. This voice emerges out of No Thing (Calcagno 2003). It would not claim to be in a specific relation to gender, class, ethnicity or other classification, yet this voice can be identified as "an imaginary figure of any thing"; a paradoxical voice performed and presented out of unexpected encounters with whatever meaning there might be. This voice can be traced to 17th century Venetian music drama stages - considered to be a symbol for Nothingness as specifically performed in operatic mad scenes. This NO PAPER presents a development of an artistic doctoral project on 'how to perform vocal nothingness' (Belgrano 2011). In the current study a Baradian (feminist) diffractive methodology is applied (Barad 2007, 2012), allowing vocal practice to intra-act continuously with any matter or meaning encountered along the road, by "re-diffracting, diffracting anew, in the making of new temporalities (spacetimematterings)" (Barad 2014). Through this performative approach VOICE argues that vocal identity can be viewed as an entangled dance - where sound, thoughts, judgements, senses, madness, matter, chaos, vibrations and so on cannot be separated from one another - "endlessly opening itself up to a variety of possible and impossible reconfigurings" (Hinton 2013). The result that emerges from this trans-spatiotemporal study is a sensuous queering of operatic vocality that allows individuals to experience a monstrous voice as Any Thing or No Thing, following a discourse on Nothingness that had a fundamental impact on 17th century operatic vocality and on the birth of music drama.
anti-anticipatory aesthetics
(last edited: 2022)
author(s): Alys Longley, pavleheidler
This exposition is in progress and its share status is: visible to all.
“anti-anticipatory aesthetic” names the experimental creative strategy that functions according to a principle similar to “act first, deduct later,” which–in itself–is an homage-of-sorts to Deborah Hay’s choreographic strategy “shoot, then aim.” the aim of “anti-anticipatory aesthetic” is to put observation at the centre of the creative process instead of anticipation.
Glories to Nothingness
(last edited: 2018)
author(s): Elisabeth Laasonen Belgrano, Björn Ross
This exposition is in progress and its share status is: visible to all.
GLORIES TO NOTHINGNESS
SORROW. MADNESS. NOTHING.
A voice. A gesture.
A beginning. An experiment. A sketch.
A becoming.
... based on the story of a singer’s performance of paradoxes and passions
in 17th century Venice.
... based on a singer’s research – performed in the 21st century – about the Art of Performing Everything and Nothing.
GLORIES TO NOTHINGNESS is an artistic research project investigating performative acts of moving between Vocalizing ≈ Articulating ≈ Mattering ≈ Trusting.
The research question: How to perform trust?
Every movement, utterance, projection and articulation is consciously exploring and honoring Nothingness as an idea and a concept much debated at the time when the first public opera productions were performed in Venice around 1640. Based on a performative research approach and new materialist theories, performance acts are methodologically diffracted through musical fragments composed by Luigi Rossi (c. 1597 – 1653), Claudio Monteverdi (1567-1643) and Francesco Sacrati (1605-1650); through selected poems from the volume Le Glorie della signora Anna Renzi romana (Venice, 1641); through thoughts entangled with figures such as RESISTANCE, VULNERABILITY and TRUST; through the practice of exploring force and form as every day performative acts.
Elisabeth Belgrano
vocal projections / performance
Björn Ross
visual projections / scenography
The Drawing Board #6
(last edited: 2018)
author(s): Rhiannon Jones
This exposition is in progress and its share status is: visible to all.
Traci Kelly and Rhiannon Jones
Writing as object.
Writing as materiality.
Writing through the body.
Writing the subject into being.
A laboured breath, a subversive gesture, a consideration of materiality and difference are the urgent concerns of Traci Kelly and Rhiannon Jones as they write through the body. Resisting narrative and authorship they seek the preform and fractured modes of writing that adhere to a multivalent feminine.
This entry is offered as a sharing of some of the documentation gathered from an emerging body of work-in-progress. There have been encounters with other artists and researchers during the two-month residency, including Terry Shave, who made Kick and Kiss in response to witnessing the collaboration.
The artists have utilised this collaboration to destabilise language and expose its underlying structures. This project offers a feminine approach to writing, which often has a male primacy. The artists are interested in preform, sounds that do not yet make words and the performative quality of the body as both a written language and as a site of inscription. The installation of their residency documentation explores place and plays with the shifting roles of the readerly and the writerly, whether through body or physical spaces the work inhabits.
The Drawing Board
The Drawing Board is a space for handwritten performances that aims to turn a corridor into a destination and to return the walls of an old school building in Nottingham to their former use as a place of display. Curated by Michael Pinchbeck, The Drawing Board explores how we write, how we perform writing and how writing performs.
All rights Kelly and Jones 2018