escalating inter-activity: brieftopic glimpse in site-specific post-human improvised music
(2025)
author(s): Barbierato Leonardo
connected to: Enacting Artistic Research
published in: VIS - Nordic Journal for Artistic Research
There are moments within a performance where destruction and deviation from reality allow an alternative scenario to reveal itself. I argue that these moments can be called ‘brieftopic’, fleeting glimpses into a possible future (Behzad Khosravi Noori, 2024). But what are the connections between reality, deviation and alternative scenario? How can this brieftopia, which materializes for brief moments within a performative event, reverberate outside of it, propagating at a social and political level? During the site-specific improvisation series [in situ], it became evident to me that this brieftopia is tied to an artist’s relinquishment of control, leading to a decentralization of the performance. By introducing the case study, specifically the [in situ] performance held in September 2023 at the Maremma National Park, we will see how unforeseen, unpredictable, and non-linear interactions between myself, the audience, and the non-human components of the ecosystem in which we were immersed, shaped the performance itself, steering it in an unexpected direction and removing it from the continuum of artistic intention, audience perception, and everyday life reflection. In this brieftopia, in a sense, it is existence itself that is reduced to rubble, not for the love of rubble, but for the way out that passes through it, paraphrasing Walter Benjamin.
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.
time slice transmitter
(last edited: 2025)
author(s): Marco Döttlinger
This exposition is in progress and its share status is: visible to all.
time slice transmitter is composed as an intra-active adaptive assemblage and investigates creative agency in the context of electroacoustic and algorithmic real-time composition and performance. Marco Döttlinger and Anna Lindenbaum (violin) explore process-based forms or relationships between human and algorithmic actors. This structure consists of three interlocking recurrent levels: a violinist, an autonomously acting computer music system (CMS) and a laptop performer.
Our hypotheses are that musical intra-action with algorithms generates a new ontology of musical artworks: away from a text to be interpreted, towards a non-linear and radically open-ended workflow. This also calls into question the traditional concept of authorship, as the temporal interdependence represents new constellations of cooperation. In general, machine learning algorithms are pushing for a critical and creative examination of traditional concepts of music creation.
Apām Napāt Trio
(last edited: 2020)
author(s): Saman Samadi
This exposition is in progress and its share status is: visible to all.
Apām Napāt (آپام نپات) is a trio by Persian pianist, violinist, and vocalist Saman Samadi, clarinetist and saxophonist Blaise Siwula, and Buchla-player Hans Tammen. The ensemble presents improvisational compositions that draw connections between their musical backgrounds. Using Persian modes and poems as well as a structured and recognizable yet free impulsive interaction between the instruments, they set parallel narratives in motion, occasionally intersecting but always accompanying one another. The trio released an album called "Apām Napāt" consisting of the recordings of their first performance, in 2016.
Apām Napāt (آپام نپات) is a trio by Persian pianist, violinist, and vocalist Saman Samadi, clarinetist and saxophonist Blaise Siwula, and Buchla-player Hans Tammen. The ensemble presents improvisational compositions that draw connections between their musical backgrounds. Using Persian modes and poems as well as a structured and recognizable yet free impulsive interaction between the instruments, they set parallel narratives in motion, occasionally intersecting but always accompanying one another. The trio released an album called "Apām Napāt" consisting of the recordings of their first performance, in 2016.open exposition comments (0)