HACKING SOUND SENSORIALITY
(2025)
author(s): Marie Rose Sarri
published in: ArteActa – Journal for Performing Arts and Artistic Research
HACKING SOUND SENSORIALITY_how to build embodied sound objects for electroacoustic music with lofi techniques
Disembodiment is not new and does not only exist because of the current technological reality. It is an experience that various practitioners, in the field of music, experience constantly. The composer/producer/musician/sound designer moves the material. The listener only perceives its virtual representation. How to bridge the gap between the bodily experience of sound creation and its fruition and further (re)creation in the virtual world? By using synesthesia in the creation of an object-based sound method and vocabulary with the use of lofi techniques. A synesthesia of sensory roots to place the body-cosmos at the centre of sound, to make this simulacrum of identity a bridge between the articulate and the inarticulate, between the real and the virtual. Lofi thought, with its techniques for creating and modifying sound, has a new vision of technology, linked to knowledge and memories of the body.
The aim is to design a new vocabulary of tools and methods for the creation of sound objects with different degrees of embodiment. These sound objects will be designed to live in two worlds: in the disembodied world of the virtual and in the material world of corporeal sonority.
The article explores the use of a practical and philosophical hacking that does not colonise the new virtual sound territories, emptying them of resources and meanings, but amplifies them through the semiotics of the ancient territories of the body, in order to make them habitable and fertile.
Sustainability in Performing Arts Production
(2024)
author(s): Johanna Garpe, Camilla Damkjaer, Markus Granqvist, Gunilla Pettersson Thafvelin, Anna Ljungqvist, Anders Larsson, Synne Behrndt, Mihra Lindblom, Anja Susa, Anders Aare, Anders Duus, Jon Refsdal Moe
published in: Stockholm University of the Arts (SKH)
The purpose of this project is to explore how we can minimize the climate impact through the way we plan, produce, and support performing arts productions.
The overarching research question was: How can we continue to create relevant and innovative performing arts with a smaller climate impact?
The faculty in performing arts at Stockholm University of the Arts worked with Harry Martinson's Aniara from their various disciplines.
A Singing Orna/Mentor's Performance or Ir/rational Practice
(2019)
author(s): Elisabeth Laasonen Belgrano
published in: RUUKKU - Studies in Artistic Research
This exposition is an orna/mentor’s doing, an attempt, an essay, a performance, a line-of-thinking, a series of relations, a performance-research-model, a beginning of an orna/mentor’s manifesto. It might appear chaotic for some, and inviting for others. Its aim is to allow for the visitor to dive into the ‘orna’ (as in ‘urn’ meaning: an ornamented vase) mentored by a vocal performer. The exposition performs the raw and asymmetric intimacy of a research process searching to penetrate into (while at the same time radically opening up) that-which-is-yet-to-be-known. The performative caring has created an endless amount of philosophizing figures/sounds-in-themselves, as ornamented variations of an original musical score; a translation of one doing of another doing of another doing. Included in this exposition - as yet another ornamented variation – is a ‘peer-review-dialogue’ (a Q & A) between the orna/mentor and a Chorus of Unknown Reviewers. This dialogue has been included to clarify (or perhaps confuse even more) some of the questions that might arise in the mind of the visitor while moving through the exposition.
One Motorbike, One Arm, Two Cameras
(2015)
author(s): Ainara Elgoibar
published in: Journal for Artistic Research
The idea of creating a video work exploring the question of how an industrial robotic arm would see a handmade product is used as a pretext to generate a meeting point for different local agents in the framework of the production of an art project titled 'Rodar y Rodear' ('To Shoot and to Surround') (2013).
The heirs of a post-civil war motorbike manufacturer (MYMSA) and the Barcelona Fab-Lab found it interesting to take part in the production of this artistic project, which is a film event built on the idea of dislocation in the common uses of its leading actors: a motorbike restored as a museum piece and an industrial robotic arm programmed to produce the image of something that was fabricated with a pre-robotic sensitivity.
This exposition explores the connections that arise between production processes in commercial cinema and the automotive industry, and the capacity that artistic research has to create a singular and significant space for mutual exploration.
Relationships Crafting - Reality Shaping: Conversations About Curatorial Tools
(last edited: 2025)
author(s): Anna Chrtková
This exposition is in progress and its share status is: visible to all.
Case study of Drugo More in relation towards the practice of Fatos Ustek and Bek Berger
Translating Atmospheres
(last edited: 2021)
author(s): Cecilia Berghäll
This exposition is in progress and its share status is: visible to all.
An ongoing research and exploration of what it means to think and feel through mediums.
The purpose of this project is to explore how we can minimize the climate impact through the way we plan, produce, and support performing arts productions. The overarching research question was: How can we continue to create relevant and innovative performing arts with a smaller climate impact? The faculty in performing arts at Stockholm University of the Arts worked with Harry Martinson's Aniara from their various disciplines.open exposition comments (0)
Case study of Drugo More in relation towards the practice of Fatos Ustek and Bek Bergeropen exposition comments (0)
An ongoing research and exploration of what it means to think and feel through mediums.open exposition comments (0)