how to strike roots into the void – a trapeze artists view on artistic processes as permacultural growing
(2026)
author(s): Carmen Raffaela Küster
published in: Research Catalogue
This project researches body and object relationships through practical exploration (practice-led research) in suspension and on the ground. It illuminates connected thoughts linked to posthuman philosophy, permaculture, physical movement and contemporary circus.
Our perception of the world is getting more global and connected, but we have not realised yet the full complexity of all the interdependencies and interplays. In fact it is more than questionable whether this might be graspable for any human to its full extend at all…
The state of being ‘in suspension’ is taken as an analogy for the times we live in – life itself. In a world in which pop-stars sing ‘I have no roots’ (Merton, 2016), mass-migration makes people leave their homes involuntarily and others choose nomadic livestyles that leave them only loosely connected with a geographical place and a single culture. But at the same time, we are always tightly connected (digitally) with ‘the whole world’.
'How to strike roots into the void?' is the essential question of this interdisciplinary research, which has its roots deep 'down' in aerial acrobatic movement. How could this rooting be possible at all? And in which ways? – referring to the question of quality: 'HOW' can we in these times as human being strike out our own roots? Who and what can keep us grounded? To whom or what are we reaching out to search for connection? What nourishes us? And where to hold on to, if the substrate is emptiness – the Void – the uncertainty of life itself?
Listening to a World Coming to Terms with Itself
(2025)
author(s): Oprescu Simina
published in: VIS - Nordic Journal for Artistic Research
What if failure is not collapse but recalibration? This research reconsiders seismic activity as a speculative site of vibratory instability, adjustment, and relational tension, rather than disaster. Drawing on seismic data from the most significant Romanian earthquakes between 1977 and 2023, the project translates magnitudes into an immersive sound installation that renders the inaudible perceptible through algorithmic processing and low-frequency vibration. The resulting sonic environment invites discomfort and disorientation as productive states, reframing failure as a mode through which we may interpret stability itself differently.
The work draws from Merleau-Ponty’s phenomenology, Jung’s archetypal theory, Bohm’s field theory, Deleuze’s pataphysics, Priest’s aesthetics of failure, and Eshun’s sonic fiction to position seismic resonance as a speculative and unstable threshold between sensing and knowing. Rather than presuming to represent the Earth’s voice, the installation critically engages with the ethical implications of translating geophysical data into sound, acknowledging the gaps, distortions, and interpretive acts involved. Instead of breakdown, failure becomes a condition of listening – one that resists mastery and opens a dialogue between human and more-than-human temporalities through sonic practice.
The Eiffel tower, the frog and the dough; Musicality of Movement approach (Virág Dezsö) for singers; connecting the physicality of singing, body awareness, performative skills, and improvisation [Charlotte Riedijk, The Eiffel tower, the frog and the dough, Musicality of Movement for singers - 2025-07-12 15:20] [Charlotte Riedijk, The Eiffel tower, the frog and the dough, Musicality of Movement for singers - 2025-08-01 11:06]
(last edited: 2025)
author(s): Charlotte Riedijk
This exposition is in progress and its share status is: visible to all.
Abstract
The incentive for this research was to explore ways of integrating the physicality of singing into vocal education by means of the Musicality of Movement (MoM) approach. Musicality of Movement is a physical performance training program designed for musicians. Traditionally the importance of the physicality of singing is recognized, yet it remains underexposed in vocal training, which eventually can lead to inhibited vocal freedom and wooden or awkward performances. The Musicality of Movement approach (MoM) opens ways to freer, more imaginative stage presence, better physical awareness and more expressive singing.
The working hypothesis was:
Integrating the Musicality of Movement approach into classical voice education will offer singers tools to enhance stage presence, imaginative expression, clarity of performative skills and can create ways to find physical and mental wellbeing on stage.
The hypothesis was confirmed by the results of the three interventions—consisting of MoM lessons and workshops—that were executed during the academic year 2023-2024, with three groups of voice students, in three different settings. Interviews and questionnaires were analysed to give an impression of how working with the MoM approach supported performative skills and stage presence. Positive results were obtained from relatively small groups of students which shows a need for future research over a longer period and with a larger research population.
Most mentioned keywords to indicate what the MoM-lessons brought the students were body awareness, better breathing, performance skills and playfulness. The practicality of the approach was shown by the fact that participants mentioned to use the exercises in their individual vocal practice.
The Eiffel tower, the frog and the dough; Musicality of Movement approach (Virág Dezsö) for singers; connecting the physicality of singing, body awareness, performative skills, and improvisation [Charlotte Riedijk, The Eiffel tower, the frog and the dough, Musicality of Movement for singers - 2025-07-12 15:20]
(last edited: 2025)
author(s): Charlotte Riedijk
This exposition is in progress and its share status is: visible to all.
Abstract
The incentive for this research was to explore ways of integrating the physicality of singing into vocal education by means of the Musicality of Movement (MoM) approach. Musicality of Movement is a physical performance training program designed for musicians. Traditionally the importance of the physicality of singing is recognized, yet it remains underexposed in vocal training, which eventually can lead to inhibited vocal freedom and wooden or awkward performances. The Musicality of Movement approach (MoM) opens ways to freer, more imaginative stage presence, better physical awareness and more expressive singing.
The working hypothesis was:
Integrating the Musicality of Movement approach into classical voice education will offer singers tools to enhance stage presence, imaginative expression, clarity of performative skills and can create ways to find physical and mental wellbeing on stage.
The hypothesis was confirmed by the results of the three interventions—consisting of MoM lessons and workshops—that were executed during the academic year 2023-2024, with three groups of voice students, in three different settings. Interviews and questionnaires were analysed to give an impression of how working with the MoM approach supported performative skills and stage presence. Positive results were obtained from relatively small groups of students which shows a need for future research over a longer period and with a larger research population.
Most mentioned keywords to indicate what the MoM-lessons brought the students were body awareness, better breathing, performance skills and playfulness. The practicality of the approach was shown by the fact that participants mentioned to use the exercises in their individual vocal practice.