Aubiome: A Collaborative Method for the Production of Interactive Electronic Music
(2021)
author(s): Joel Diegert, Adrian Artacho
published in: Journal for Artistic Research
Using a ‘performer-centric’ working method, artistic researchers Joel Diegert and Adrián Artacho investigate the potential of integrating the saxophone with real-time electronics. The musical work, 'aubiome', is used as a case study to demonstrate their collaborative co-creative approach. The six-stage, iterative working process that emerged during the aubiome project is broken down and described in detail.
Choreo-graphic Figures: Scoring Aesthetic Encounters
(2019)
author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil, Simona Koch
published in: Journal for Artistic Research
We have developed this exposition for ‘scoring an aesthetic encounter’ with the multimodal (visual, textual, sonic, performative) findings from Choreo-graphic Figures: Deviations from the Line, an artistic research project by Emma Cocker, Nikolaus Gansterer and Mariella Greil. Choreo-graphic Figures stages a beyond-disciplinary encounter between the lines of choreography, drawing and writing, for exploring those forms of knowing-thinking-feeling produced in the slippage and deviation when different modes of practice enter into dialogue, overlap and collide. Within this exposition, our aim is not to present an exhaustive account of the Choreo-graphic Figures project. Rather, we seek to test the specificity of this online context for extending our investigation through the following questions: how can we create a digital archive capable of reflecting the durational and relational aspects of the research process, a mode of online dissemination that enacts something of the liveness or vitality — the energies and intensities — within collaborative live exploration? Beyond the limitations of the static two-dimensional page, how can an enhanced digital format enable a non-linear, rhizomatic encounter with artistic research, where findings are activated and navigated, interacted or even played with as a choreo-graphic event?
We have modelled the exposition on the experimental score system developed within our research project, for organising our process of aesthetic enquiry through the bringing-into-relation of different practices and figures. The score is approached as a ‘research tool’ for testing how different practices (of Attention, Notation, Conversation, Wit(h)nessing) can be activated for sharpening, focusing or redirecting attention towards the event of figuring (those small yet transformative energies, emergences, and experiential shifts within artistic process that are often hard to discern but which ultimately steer the evolving action) and the emergence of figures (the point at which the experience of ‘something happening’ [i.e. figuring] coalesces into recognisable form).
Within this exposition, our research can be encountered experientially through → Playing the Score, whilst the → Find Out More section contains contextual framing alongside conceptual-theoretical reflections on the function of our score and its ecology of practices and figures.
The Truth in Painting 1993: Runaway Train
(last edited: 2024)
author(s): Martin Lang
This exposition is in progress and its share status is: visible to all.
In 1993, Soul Asylum released Runaway Train, which became a global hit. The music video featured real-life missing children taken from the “milk carton kids” campaign. It quoted the statistic that there were over one million youth lost on the streets of America. I always wondered what happened to the missing children in the music video. When a child goes missing, something has happened to them, and it is at least hypothetically possible to find out what (the truth is out there). Originally, I set out to create a piece of investigative art that would shed some light on the whereabouts of these children, but I ended up painting their portraits. Painting is a way of lifting normalised stories of tragedy into the heightened position of portraiture – ordinarily reserved for people in positions of power. These forgotten kids were unceremoniously eulogised on milk cartons because abductions in 1993 were so ordinary that Americans consumed them while eating their cereal.
Soul Asylum made different music videos for the different countries in which they released their single: I concentrated on the missing people from the British version. Tragically, many have been found dead. In one case, a child was located because of the video and returned to his parents: he later blamed the video for returning him to the abusive domestic situation from which he had being trying to escape. Some have been found alive; more are missing presumed dead. Because 1993 was pre-internet (indeed, pre-digital), the amount of information about each missing person available on the web varies greatly. Perhaps the most heart-breaking discovery from this research was that one child’s parents continue to be extremely active – resulting in continuous police activity, local newspaper coverage and even offering a reward for information leading to the whereabouts of their daughter's body – while another missing person has no information about him at all on the web or in local newspaper archives.
Choreographic Process as Interaction
(last edited: 2022)
author(s): Kirsi Törmi
This exposition is in progress and its share status is: visible to all.
My artistic doctoral research consists of two pre-examined artistic parts, three different experimental practical applications, and the written part at hand. The process descriptions and the findings of the pre-examined artistic parts AmazinGRace- (2010) and Kierto (2012) that had premiers in Kajaani are discussed in the chapters under these titles respectively. During the research project, I realised three experimental practical applications: the workshops Tunto (2012–2013) and Vertaislaboratorio- (2013) and Piileskelevä liike (2014). The title of my written part is Koreografinen prosessi vuorovaikutuksena [Choreographic Process as Interaction].
Participatory and process oriented practices of dance have taken an increasing role in dance during the last few years. In my research I try to understand the phenomenon and aim at forming new knowledge and new methods for this widening field in dance. The starting point in my research was the frustration and the dissatisfaction I felt at the time towards my choreographic practice. With my research I outline an interactive choreographic process that corresponds with my understanding of that which appears to me as meningful when I encounter people in artistic processes. Making room for feelings and sensations in a choreographic process is a central element in my research.
The research has taken shape without a specific hypothesis. Instead of a hypothesis, the research has been driven by my critical and reflective agency, based on which I have developed visions and practices. Theory has not been leading action in this research process, whereas the applicable theoretical framework has adjusted itself to the existing artistic activity. The theoretical reference points in my research are found in the Pedagogy of the Oppressed and the Radical Upbringing, the Discipline of Authentic Movement, the Body Psychotherapeutic Approach and the thinking of neurologist Antonio Damasio.
EIRIN LOTHE ALBRIKTSEN - Hvordan berike ens eget og en plantes liv ved hjelp av teknologi
(last edited: 2020)
author(s): ELA
This exposition is in progress and its share status is: visible to all.
Dette er ett prosjekt i fysisk prototyping
Using a ‘performer-centric’ working method, artistic researchers Joel Diegert and Adrián Artacho investigate the potential of integrating the saxophone with real-time electronics. The musical work, 'aubiome', is used as a case study to demonstrate their collaborative co-creative approach. The six-stage, iterative working process that emerged during the aubiome project is broken down and described in detail.open exposition comments (0)
Dette er ett prosjekt i fysisk prototypingopen exposition comments (0)