Listening Into the Lattice
(2024)
author(s): Jorge Boehringer
published in: HUB - Journal of Research in Art, Design and Society
This exposition details the opening phase of new research between an experimental sound artist and an archaeologist, with a detailed examination of critical epistemological questions that have arisen from the beginning of this project. Both collaborating researchers are situated within hybrid specialisations. As the project unfolds, archaeo-chemical data is explored and animated through methods developed from intersections of data science and musical practice, resulting in performance and installation environments in which knowledge of material culture of the ancient past may be made present through listening. However, beyond a case study, this exposition points to how interdisciplinary artistic work produces results that have value outside of normative paradigms for any of the fields from which it is derived, while offering critical insight about those fields. This exposition is formed of these insights. Readers are introduced to the structure of the data, its relationship to the materiality of the artefacts described, the technological apparatus and compositional methodology through which the data is sonified, and the new materiality of the resulting artistic experiences.
Sonification exists at a nexus of sound production and listening, interwoven with information. Meaning and interpretations arise from artistic decisions concerning sound composition and the context for listening to take place. Meanwhile, listening teaches us about data and about the physical and cultural spaces into which we project it. In this way, sonification is always already interdisciplinary.
Mindfulness for violinists
(2023)
author(s): Sacha Paredes Sánchez
published in: KC Research Portal
An overabundance of mental distractions may prevent musicians’ minds from being in the moment while practicing. The present mixed-methods study examined the effects of three newly designed mindfulness meditations on six conservatory violinists’ levels of dispositional mindfulness, mind-wandering and respective variables. Thought probes were used before and after the intervention to examine frequency of mind-wandering and contextual variables (task difficulty, fatigue and stress, and motivation) during two hours of participants’ instrumental practice (one of technical work another of a new piece in their repertoire). FFQM (Five Facet Mindfulness Questionnaire) and MfM (Mindfulness for Musicians) questionnaires were used to measure mindfulness levels before and after the intervention. Interviews and meditation logs were used as qualitative data. Results indicated that all participants became more mindful at the end of the meditation week for all mindfulness’ facets for the FFQM and MfM questionnaires. However, the improvements were particularly noticeable for the “Acting with Awareness” and “Non-Judge” facets for the FFQM and for “Describe” in the MfM. Results showed opposing trends in mind-wandering levels throughout the intervention. That is, some participants showed higher mind-wandering at the post-intervention and others lower. However, contextual variables such as fatigue, motivation or worry, may have also affected how much participants wandered while practicing (e.g. some of them showed more rumination when being more worried and having slept less). Overall, results from the experiment evidenced the importance of including mindfulness in violinists’ daily practice as a useful routine to become more aware and less distracted.
Structures for Freedom: In-performance communication in Traditional musicians in Scotland
(2022)
author(s): Lori Watson
published in: Journal for Artistic Research
This exposition articulates tacit knowledge in processes associated with contemporary Traditional music practice in Scotland. Using a case study experiment and a series of workshop performances recorded in 2008, I examine the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians. In particular, examples of in-performance communication and collaboration emerge.
OPTIMAL Practising: An Autonomous Journey of Exploring Enhanced Expectancies and External Focus
(2022)
author(s): Xavier Tan
published in: KC Research Portal
While exploring ways to improve practice methods and reduce stage anxiety, the researcher came across the OPTIMAL (Optimising Performance through Intrinsic Motivation and Attention for Learning) theory of motor learning while reading William’s 2019 research on “Finding Focus”. The theory was proposed by Wulf and Lewthwaite (2016) to utilise motivation and attentional focus in improving performance.
Through a thorough theoretical review of the theory, other relevant studies, and attending workshops and courses, the researcher discovered better approaches and methods to practising for himself, enhancing his quality of practice and promoting personal growth.
By developing and applying an informed method to a group of 13 musicians from the Royal Conservatory of the Hague, this research also investigated the impact of the OPTIMAL theory on the practice of other musicians through a three-week intervention. The goal-coupling action from enhanced expectancies, autonomy, and external focus was found to bring about greater practice quality. The data obtained from the intervention and a retention test also revealed enhanced levels of organisation, objectiveness, mindfulness, and confidence during practice. However, some found themselves more anxious in the process. The intervention highlighted a need for more resources, as well as safe spaces to discuss practice and performance in Conservatoires.
This research hopes that the findings bring about more awareness, acts as a source of information, and encourage more open discussions on the way musicians practice and perform, as more attention could be given to this in the way we shape music education.
"An Actor Prepares": A musician's approach to a selection of techniques by Konstantin Stanislavski
(2022)
author(s): André Teixeira
published in: KC Research Portal
The belief that imagination’s engagement and emotional connection with what I play enhance my performance propelled me to do this research. However, these are not systematically integrated in instrumental practice. Thus, it seemed to me that the twentieth century theatre director Konstantin Stanislavski’s ‘system’ would be the perfect basis for such a quest.
The starting point were acting techniques from his first book "An Actor Prepares": the "given circumstances", imagination-related ("supposed circumstances", “inner visions”, "magic if”) – and emotion-related ("emotion memory", "sensation memory", "surroundings"). Partly supported by existing literature, these techniques were linked with the instrumentalists' work and tested out in a self-case study through three interventions.
The process consisted of making video recordings of the 'before' and the actual interventions, which were guided by the filling out of intervention forms designed by me. The techniques were applied on three distinct piano passages of Richard Strauss’ melodrama for narrator and piano "Enoch Arden". Furthermore, I did interventions’ reports to provide more palpable insights about the experience, namely the effects of each technique on the performer.
The outcome was evaluated through a questionnaire filled in by a group of listeners, comprising musicians and non-musicians, and by me.
The responses generally show that the techniques were effective. However, the recordings were perceived as very similar. Also, the listeners’ perception sometimes differed from mine.
Nevertheless, the reports allow us to conclude that these techniques might affect the performer’s focus, creativity, self-confidence, knowledge about the works and also self-knowledge.
Mindful practicing - Mindfulness and goal setting exercises for fostering self-efficacy
(2020)
author(s): Magdalena Morales Hidalgo
published in: KC Research Portal
This research explores the creation and application of mindfulness and goal setting exercises and tests its relationship with the construct of self-efficacy for music learning and practicing. Three separate questionnaires and pre- and post-intervention interviews were applied to a sample of 11 conservatory students. All participants but one rated higher scores of self-efficacy for music learning and practicing in one of the questionnaires. The additional questionnaires, interviews and formats that were analyzed give this study a broader scope for identifying distinct factors that may have a relation with the exercises applied and higher self-ratings of self-efficacy.
The content of this research provides an analysis of mindfulness practices and goal-setting strategies and their application to the instrumental practice of music conservatory students. The material envisioned for this study is both original and retrieved from external sources. Some of the material is taken from author Vanessa Cornett and her book “The Mindful Musician” (Cornett, 2019), as well as from Sarah Samuel’s book “Mindful Crafting” (2018) and Bernadette Dijkhuizen-Keogh’s work (2019).
This research wishes to provide tools not only for students who want to improve their sense of self-efficacy regarding their instrumental practice but also for teachers, who want to explore the material developed in this study with their students.
Sensory excursion as a site of encounter
(2020)
author(s): mari martin
published in: RUUKKU - Studies in Artistic Research
In this exposition I discuss a human’s relationship with the environment, in terms of sensation and encounter. I describe my artistic practice implemented with the artist group Ajauksia, as a member of it. We, as a group, explore various sensory encounters with the environment through sensory exercises and, to that end, organize sensory excursions in different urban environments.
We participated in the Research Pavilion # 3 (RP #3), coordinated by the University of the Arts Helsinki in the context of the Venice Biennale. Here I describe the work of Ajauksia within the project, from my perspective. I join in the theme of this Ruukku publication, ecologies of practice, by describing how we developed sustainable modes of artistic research in and through processes of collaborating, performing and discussing. Now, after the project, I reflect on the ideas, experiences and opportunities for interaction with different parties. I focus in particular on the two very different environments where we worked, the Kontula suburb of Helsinki and the island of Giudecca, Venice, where Research Pavilion #3 was located.
Aesthetic practices of very slow observation as phenomenological practices: steps to an ecology of cognitive practices
(2020)
author(s): Alex Arteaga
published in: RUUKKU - Studies in Artistic Research
This exposition presents three aesthetic research practices (framed dialoging, wiriting exploratory essays and the reading circle), one framework for realizing another aesthetic practice of research (notation) and the outline of four concepts originated by pefroming these practices and that, in turn, frame and underpin their performance (aesthetic practices of very slow observation, aesthetic research, aesthetic cognition and aesthetic phenomenology). All these practices and conepts converg towards the central idea in this exposition: the ecology of cognitive practices.
Performative Well-Being: Conditions of Sharing
(2018)
author(s): Alexander Komlosi
published in: RUUKKU - Studies in Artistic Research
Since Ruukku 8 has asked us to consider “conditions of sharing”, it seems apt, and interesting, to start this exposition about the conditions of sharing of performative well-being through a dialogue with the conditions of sharing that the Ruukku 8 editors, Mika, Tero, and Leena, have offered us. Here we go!
Drawing Exercises
(2017)
author(s): Tero Heikkinen
published in: RUUKKU - Studies in Artistic Research
In this exposition, I present three different exercises for drawing space and form that have been helpful in analyzing the current state of my drawings and refreshing my abilities. I look at the exercises in terms of skill building, reflective research practice and indwelling.
The study is a process of framing and re-framing drawing through devising drawing tasks for the self. These exercises steer the drawing towards different directions or reinforce the skill. The broader practice of drawing also includes this direction-setting, both building and being aware of a space of possibilities for the drawing practice. Thoughtful drawing exercises can become material for research in the arts.
Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire: A pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoire
(2016)
author(s): Cody Takacs
published in: KC Research Portal
Name: Cody Takacs
Main Subject: Classical Double Bass
Research Supervisor: Maggie Urquhart
Title of Research:
Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire: A pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoire
Research Question:
How can double bassists efficiently learn contemporary solo double bass repertoire requiring the simultaneous use of their voice and playing their instrument?
Summary of Results:
Due to an exponentially growing number of compositions and a complete lack of pedagogical material regarding simultaneously using the voice and playing the double bass, I have written a method book titled The Double Bass-Voice: A How-To Guide. For this book I have collected, adapted, and organized information from double bass pedagogical resources, vocal pedagogical resources, musical scores, and reflections on past experiences with this repertoire. The book is
intended to develop the technique and coordination necessary to effectively prepare solo double bass-voice repertoire. The book is divided into four main sections: “Using the Voice as a Practice Aid,” “Vocal Tools and Techniques,” “Etudes and Exercises,” and “Notation Examples” as well as a database of the solo double bass-voice repertoire. By incorporating the voice as a tool into individual practice, understanding an efficient practice process and fundamental vocal technique, having access to simple etudes to develop double bass-voice technique and coordination in musical contexts, and knowing what to expect in notation, double bassists will be better prepared in learning works for double bass-voice more efficiently. These results will be presented via PowerPoint presentation with musical examples from the method book and select double bass-voice works.
Biography:
Cody Takacs is a classically trained American double bassist currently residing in The Hague. An avid performer of new music, he has performed with Ensemble Klang, De Nieuwe European Ensemble, Het Metropole Orkest, and the Lucerne Festival Academy Orchestra and has appeared in the Gaudeamus Muziekweek, Venice Biennale, and Bang on a Can Summer Music Festival. He has given contemporary solo performances at the Rotterdam Contemporary Art Fair, Carnegie Hall, several universities and conservatories across the U.S. and Europe, and a lecture/performance on Iannis Xenakis at the International Society of Bassists convention.
The slippery trail: The mollusc as a metaphor for creative practice
(2015)
author(s): Karen Savage
published in: Journal for Artistic Research
This exposition documents several years of process-driven practice-as-research. The work explores themes of womanhood, embodiment, and autobiography.
Throughout the exposition I argue that the embodiment of process is key to understanding practice-as-research. I propose that practice-as-research projects don't always begin with a ‘final output’ in mind. Instead, the practice of practice-as-research should be reconsidered throughout its development; it should use its potential for liminality. It is the demonstration of a ‘living process’ – living in process. However, what becomes key within the practice is a clear articulation of process, and how the research is recorded as part of that process. In this work, 'writing about practice' and performative practices are integrated, enabling a dialogue between various creative responses as well as offering access points to the research in a variety of forms.
This exposition explores ways in which we live in process through a presentation of text, visual essays, and short film and video pieces.
The work develops from creative artefacts and critical text into a piece of responsive writing, 'A Play of Characters'. This playtext reconsiders some of the influences in the work and explores the imagery of the whole project in a performative context.
The notion of embodiment and a 'living body of work' is developed further through the use of metaphor, in particular the metaphor of the mollusc. I use this to consider how practice evolves alongside process, 'housing' both the work and the process in both material form (the shell) and trace (the snail trail).
Different combinations of this work have been presented as performance installations, both at the University of Portsmouth, as part of my PhD examination in 2010, and at the University of Lincoln, as part of the Gnarlfest in 2014. However, by the very nature of 'living in process' this is a work that continues to evolve and 'live' in different forms. The purpose of this exposition is to explore the work in an accessible online form – one that offers alternative platforms and sequences, creating different possibilities and readings of the practice.
Material for Gifts from the Sentient Forest
(last edited: 2024)
author(s): Annette Arlander
This exposition is in progress and its share status is: visible to all.
This page is under construction
It contains material created for and in the context of the research project Gifts from the Sentient Forest at the University of Lapland. See https://www.sentientforestproject.com
Pondering with Pines - Miettii Mäntyjen Kanssa - Funderar med Furor
(last edited: 2024)
author(s): Annette Arlander
This exposition is in progress and its share status is: visible to all.
This exposition documents my explorations of pondering with pine trees.
Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa.
Den här ekspositionen dokumenterar mina försök att fundera med furor.
NTNU Live studio
(last edited: 2024)
author(s): trygve ohren, Steffen Wellinger
This exposition is in progress and its share status is: visible to all.
NTNU has a long tradition of students undertaking Live Projects. Many schools of architecture do. What sets our projects apart is that a big number are initiated, organised and managed by the students themselves. These initiatives are made possible with support from the university, and a focus on live aspects through the education. Already the first semester, architecture students at NTNU have to design and built a 1:1 timber construction.
NTNU’s Live Projects have varied from small traditionally crafted Norwegian boathouses, to larger scale community development based projects in Latin America, Africa and Asia. Students employ a context-based design approach whereby they have to work closely with local municipalities, professionals, grassroots organisations and other stakeholders. It’s this collaborative focus that truly allows the projects to take flight.
In recent years, students have shown a soaring interest in Live Projects, be they independent, part of self-initiated curricular course or a curricular course that focuses on building. This confronts NTNU with the challenge of responding to their enthusiasm in a way that acknowledges their contribution, but also generates academic returns. The institution must be able to be responsible for the students’ learning, well-being and the quality of the projects, yet at the same time, give them independence and entrust them with full social and professional responsibility.
NTNU Live Studio is a platform from which students find support and encouragement for Live Projects, from which they discover or learn, on their own terms, what architecture is, or does, and what becoming an architect is about.
Exploratory essay writing. An aesthetic-phenomenological research practice
(last edited: 2022)
author(s): Alex Arteaga
This exposition is in progress and its share status is: visible to all.
Published as part of: Alex Arteaga, 'Exploratory Essay Writing. An Aesthetic-Phenomenological Research Practice', in the Special Issue 'Practices of Phenomenological and Artistic Research', (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, [Vol. 17, No.1, 2022], pp.190-200. ISSN 1913-4711. See full issue here: https://journals.library.ualberta.ca/pandpr/index.php/pandpr/index
HOW DO YOU WORK? Conversations, drawings and responses (Vienna)
(last edited: 2022)
author(s): Adelheid Mers
This exposition is in progress and its share status is: visible to all.
Preliminarily in 2012, and formally in 2013/14 , I asked experimental musicians and composers in Vienna "How do you work?". Based on those conversations, I created two drawings of what I call each artist's "epistemic engine", or the way I understood them to work. One drawing was a free form exploration, and the other mapped my notes onto the "Fractal 3-line Matrix", a diagrammatic instrument that emerged in my work in 2011, after the informal round of conversations. On sharing the drawings with them, artists were invited to produce a response in a medium of their choice. This project was supported by the University of Music and Performing Arts, Vienna.
MATERIAL STRATEGIES
(last edited: 2019)
author(s): Sage Canellis, Camilla Eeg-Tverbakk, Electa Behrens
connected to: Norwegian Artistic Research Programme
This exposition is in progress and its share status is: visible to all.
Material strategies explores ways of practicing materiality in relation to artistic processes of creation. It responds and aims to contribute to questions related to sustainability and the antropocene, identity and subject formations, and appropriation and cultural exchange.
With reference to object oriented philosophy and new materialism as an ethical ground, the proposed research project will investigate voice and body as material in relation to spaces, architecture and objects. How can we as artists to a greater extent listen to the agency of the material and let it shape our artistic work? How do human ideas, emotions, visions and memories come into play when the artistic strategy calls for less power and control over the material? How are performative and material practices articulating the embodied nature of memory?
The project will further develop pedagogical areas that are fundamental to the teaching practices at NTA. Professor in Dramaturgy and Performance Camilla Eeg-Tverbakk will lead the project reflecting her recent PhD project Theatre-ting, toward a materialist practice of staging documents, which deals with object oriented philosophy as a framework for investigating dramaturgical practice and the ethics connected to staging documents. Other involved staff members are: Assistant professor Øystein Elle, Professor in scenography Jakob Oredsson, Assistant professor Electa Behrens, and research fellow Ingvild Holm.
We arranged a two days international seminar at VEGA scene in Oslo on 28. February and 1. March 2019.A two weeks practical workshop, culminating in a public presentation and discussion happens between 29. April and 10. May 2019.
This exposition articulates tacit knowledge in processes associated with contemporary Traditional music practice in Scotland. Using a case study experiment and a series of workshop performances recorded in 2008, I examine the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians. In particular, examples of in-performance communication and collaboration emerge.open exposition comments (0)
This exposition presents three aesthetic research practices (framed dialoging, wiriting exploratory essays and the reading circle), one framework for realizing another aesthetic practice of research (notation) and the outline of four concepts originated by pefroming these practices and that, in turn, frame and underpin their performance (aesthetic practices of very slow observation, aesthetic research, aesthetic cognition and aesthetic phenomenology). All these practices and conepts converg towards the central idea in this exposition: the ecology of cognitive practices.open exposition comments (0)
Since Ruukku 8 has asked us to consider “conditions of sharing”, it seems apt, and interesting, to start this exposition about the conditions of sharing of performative well-being through a dialogue with the conditions of sharing that the Ruukku 8 editors, Mika, Tero, and Leena, have offered us. Here we go!open exposition comments (0)
In this exposition, I present three different exercises for drawing space and form that have been helpful in analyzing the current state of my drawings and refreshing my abilities. I look at the exercises in terms of skill building, reflective research practice and indwelling. The study is a process of framing and re-framing drawing through devising drawing tasks for the self. These exercises steer the drawing towards different directions or reinforce the skill. The broader practice of drawing also includes this direction-setting, both building and being aware of a space of possibilities for the drawing practice. Thoughtful drawing exercises can become material for research in the arts.open exposition comments (1)
This page is under construction It contains material created for and in the context of the research project Gifts from the Sentient Forest at the University of Lapland. See https://www.sentientforestproject.comopen exposition comments (0)
This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.open exposition comments (0)
Preliminarily in 2012, and formally in 2013/14 , I asked experimental musicians and composers in Vienna "How do you work?". Based on those conversations, I created two drawings of what I call each artist's "epistemic engine", or the way I understood them to work. One drawing was a free form exploration, and the other mapped my notes onto the "Fractal 3-line Matrix", a diagrammatic instrument that emerged in my work in 2011, after the informal round of conversations. On sharing the drawings with them, artists were invited to produce a response in a medium of their choice. This project was supported by the University of Music and Performing Arts, Vienna.open exposition comments (0)