FERRY EXPERIMENT: READING LINE AND SOUND | PHYSICAL MOVEMENT LAB
(2021)
author(s): Greta Pundzaite
published in: Research Catalogue
Ferry Experiment: Reading Line and Sound aims to grasp movement in different artistic elements and trace their interconnection. A sound of a ferry trip Lisbon-Berreiro is recorded as if from two differing ears of a passenger. One traces the movement of detailed noise inside while the other lowers itself to the machinery and gives an impulse of the repetitive swing of moving water. A drawing is created as a result, dismounted to its detail and used together with the sounds as a continuation searching itself in the movement of a body.
Reading on Reading: Ecologies of Reading
(2020)
author(s): Emma Cocker, Lena Séraphin, Cordula Daus
published in: RUUKKU - Studies in Artistic Research
Reading on Reading is a series of experimental reading practices developed collaboratively by Emma Cocker, Cordula Daus and Lena Séraphin whilst working together in the Research Pavilion #3, Venice, 2019, for exploring what alternative modes of sense making are produced when reading is undertaken artistically, as an aesthetic activity.
Reading on Reading explores three interrelated foci: How can aesthetic practices of reading: (1) Shed new light on the phenomenology (or how-ness) of reading? (2) Transform the often-solitary activity of reading into a shared or communal act — and explore what modes of sociality, solidarity and emergent ‘we’ emerge therein? (3) Operate as a disruptive process unsettling normative conventions of reading through focus on the poetic, affective and material dimensions of readerly experience?
Within this artistic research collaboration, we consider the act of reading beyond the relation of the reader to a text read, as a micro-political or ethico-aesthetic practice through which to re-consider — perhaps even re-organise — the relations between self and other(s), self and world. Drawing upon Félix Guattari’s notion of ecosophy with its three ecological registers of environment, social relations and human subjectivity, in this exposition we consider how the modest practice of reading together could contribute to a wider ethico-aesthetic project: for cultivating shared poetics of attention, for the re-sensing of language through embodied vocalisation, for tending to the temporary gatherings of ‘we’ that reading together affords.
The aim of this exposition is to share the reading practices tested and explored in and through the collaboration of three artist researchers, alongside reflection on the questions and concerns emerging within this enquiry. Whilst operating as a document or archive of a specifically time-bound research activity, the intention is that our reading practices have scope to be activated by other readers.
Dorsal Practices
(last edited: 2024)
author(s): Emma Cocker, Katrina Brown
This exposition is in progress and its share status is: visible to all.
Dorsal Practices is a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker, for exploring the notion of dorsality in relation to how we as moving bodies orient to self, others, world. How does the cultivation of a back-oriented awareness and attitude shape and inform our experience of being-in-the-world? A dorsal orientation foregrounds an active letting go, releasing, even de-privileging, of predominant social habits of uprightness and frontality — the head-oriented, sight-oriented, forward-facing, future-leaning tendencies of a culture intent on grasping a sense of the world through naming and control. Rather than a mode of withdrawal, of turning one’s back, how might a back-leaning orientation support a more open and receptive ethics of relation? How are experiences of listening, voicing, thinking, shaped differently through this tilt of awareness and attention towards the back?
Typeface design for visually impaired children
(last edited: 2023)
author(s): Ann Bessemans
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Due to the low quality level of visual input they receive in the form of printed text, beginning visually impaired readers are at a disadvantage in comparison to their peers. In the past, typography has often been looked upon as a useful instrument to improve the legibility of the printed reading material that is being offered to children with low vision. However, the legiblity research efforts that were at the base of this conception were not always of good quality. In cognitive science for example, many efforts were made that were methodologically correct, yet the test material (the used typefaces) had little to do with reality. Many typefaces that were supposed to improve legibility were also suggested by typographers themselves, but the reasoning behind them was hardly ever sufficiently methodologically supported. Moreover, most legibility research focused on people with low vision in general, ignoring the fac t that visually impaired children constitute a very particular group with specific issues. This doctoral research project by in design, by Ann Bessemans, seeks to shed a light on legibility in the context of visually impaired beginning readers. Starting from these findings and from a legibility research a first step is given to design a typeface that will be able to provide support for the target group of visually impaired children in the first stages of the reading process.