Distanciation and other: implications of distance in an ancestry DNA project
(2023)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
The exposition focuses on the question of ‘distanciation’ that at-once both distances and furthers one’s understanding of the self through being drawn into a work of text – here taken in a broader sense to include also the visual-material – and geographical and temporal distance. The latter interpretation of distance relates to the artistic research project that contextualises the article, which is in response to a call for drawings on the question of genetics and identity, hosted by i3S (Institute of Investigation and Innovation in Health, Porto University). As part of this author’s response, and as an example that may, through its reading, cause some expansion of one’s notion of self, the novel ‘The Inheritors’ by William Golding is discussed. From the point of view of genetic ancestry, Golding’s novel involves incongruous recognition between a family of Neanderthals and a larger group of Homo sapiens, and a more psychological use of the term ‘other’ for foreignness and one’s negotiation of such initial reaction by oneself. The conjoined question of distanciation and other is considered through reference to a large drawing of the author in progress as part of the ancestry project at the time of writing, and through theoretical reference to the work of Paul Ricoeur, Jacques Lacan and Bracha Ettinger that helps elaborate on distanciation, the psychically interpreted other, and a maternal matrixial idea of pre- and post-natal I and non-I of the self in contiguous relationship not only with psychoanalytical theory, but also with global ancestral mitochondrial DNA.
Amazing Patterns ▓▓█▋▋◣◢▋
(2023)
author(s): Rozita Sophia Fogelman
published in: Research Catalogue
Using ASCII and Unicode 8 and 16-Bit systems, I create patterns in real-time online on my ASCII Digital Design Museum page: https://www.facebook.com/Museum/ ▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋
Love of God - Group Exhibition: A Retrospective Virtual Gallery
(2022)
author(s): Jeffrey Cobbold
published in: Research Catalogue
Love of God - Group Exhibition
Curated by Jeffrey Cobbold
September 14 - October 19, 2019
Artworks Trenton, Trenton, New Jersey (U.S.A)
2019 Curatorial Statement:
“…I will find you. I will always find you……A loving heart is the truest wisdom……To believe and be satisfied with just the way things are……No one has ever seen God……Jesus……Love is a circle……And what comes around goes around…”
The words above come from Love of God (L.O.G) Audio Quotation Database, a DIY online database and digital humanities project I started in 2015 when I was working as an intern within the Love of God Retreat Program in Lawrenceville, NJ. In order to create the database I asked the program’s high school student participants to find quotes about love and God that would help them reflect on the meaning of these words within their retreat program. These quotes are now the heart and inspiration for Love of God – Group Exhibition, which presents works from a selection of artists exploring issues of love and God revealed through artistic practice.
The artists featured in this volume are:
Jessica Browne-White (sculpture)
Jeffrey Cobbold (sound, video, text)
Devonte Roach (film)
Marina de Bernado Sanchis (drawing)
Together they create multiple entry points for one to consider the character of love, God and the intersections of both in our ever changing world.
Love of God – Group Exhibition takes on the spirit of the Love of God Retreat Program in Lawrenceville, NJ with its necessity for inclusive understandings about love and God. While Jesus was a central topic of discussion within the retreat program, there was no mandated opinion one was expected to have about him. Rather, the unifying aspect of this program was an affinity for music and the arts within the expression of community. Their community was intersectional, dealing with the differences of varied socio-economic statuses, sexual identities and divergent relationships with the organized Christian church amongst so many other forms of diversity.
The retreat program no longer exists as it did in 2015 due the disbursement of its high school participants and changes in adult leadership. The online database is now a relic of the digital humanities project that occurred at that time. Yet, this exhibition is an initial step toward sharing a glimpse of the spirit of this retreat program with others. I sincerely hope that the spirit of this exhibition will connect with you as you search for love and God in your personal life and within the communities you serve everyday.
Love of God Community Conversation (Luke 1:5-45)
October 12, 2019
Artworks Trenton, Trenton, New Jersey (U.S.A)
Featured presentation:
"Love, God, and Community" by Simone Oliver
2019 Community Conversation Statement:
This community conversation seeks to provide a space for theological and artistic reflection within the Love of God – Group Exhibition. A team of presenters will offer their individual reflections on love, God and community through engagement with Luke 1:5-45. Presenters will also consider the works of contemporary art and case study materials within the Love of God – Group Exhibition to aide their presentations. A time for discussion will be had between presenters and the audience for better articulation and understanding of divergent pathways toward love, God and community that can be useful for work in Christian ministry and contemporary art & culture.
The Theatre of Words Set to Music
(2022)
author(s): Lars Skoglund
published in: Norwegian Academy of Music
This doctoral project in artistic research concerns the relationship between music and text when both are created by the same person: a composer writing his own libretti. The project is situated in ‘the everyday’, with commonplace language and daily life situations being examined and explored both thematically and as material.
The combination of music with other elements on the stage has resulted in pieces of music theatre, with a focus on different forms of storytelling. The reflection given withing this exposition describes how the works have evolved and discusses the different impulses that have led to specific artistic and ethical choices.
This exposition is presented in partial fulfillment of the Ph.d.-programmet i kunstnerisk utviklingsarbeid at the Norwegian Academy of Music.
HONEYMOON IN POMPEII - work in progress
(2021)
author(s): Sven Vinge
published in: International Center for Knowledge in the Arts (Denmark)
“HONEYMOON IN POMPEII – work-in-progress” is an artistic research project conducted at the National Film School of Denmark. In it, I explore transmediality through the production of a prototype artwork spanning film, literary text, sculpture, and virtual reality all loosely inspired by the archeological technique used to cast the Pompeian victims of the Vesuvius eruption in 79 ad.
I describe my initial inspiration and how I changed my intentions of exploring a consistent storyworld to more abstract associations and themes and the different collaborative efforts in producing the four parts of the prototype (a test not meant for public exhibition). The prototype ended up consisting of:
1) A film representing a foot specialist helping a costumer try running shoes in a sports store but showing an obsessive interest in her feet and crossing her personal boundaries.
2) A literary text consisting of selected passages of Wilhelm Jensen’s short novel “Gradiva” (1902) translated to Danish in which we meet the young archeologist Norbert Hanold and notice his obsession with an ancient bas-relief portraying a young woman walking.
3) A sculpture consisting of four transparent plastic reliefs depicting a walking woman (copies of the bas-relief described in the novel) suspended in a 1x2x2 meter aluminum frame.
4) An erotic virtual reality experience in which the perceiver’s bodily movements affects the virtual world. When moving, the represented scene freezes and vice versa.
We conducted a test of the joint transmedia artwork with a small group of respondents who answered a questionnaire reflecting on their experience. I reflect on the respondent’s answers and propose further questions and themes that may be interesting to explore through artistic research: How does one explore transmediality not necessarily in relation to a consistent storyworld but also relying on abstract characteristics? What are the limits (if any) between mixed media art, transmedia art, and installation art? How can transmediality be explored as either a goal in itself or as a development tool for artists working with particular media in mind? Could it be beneficial to explore transmediality through the metaphor of archeology and how?
Raising the Voice: Sculptural and Spoken Narratives from the Flat Sheet
(2021)
author(s): Hannah Clarkson
published in: Journal for Artistic Research
This exposition explores ideas of narrative and storytelling through sculptures and texts raised from a flat sheet, a kind of visual and spoken poetry which is both particular and multiple.
In this paper, the key area of investigation will be the relationship between sculptural and spoken narratives in my practice. This is engaged with in four main areas:
• The flat sheet and the fold as sites for storytelling
• Multiplicities inherent to storytelling
• Architecturality and the space between bodies and buildings
• Words, text and the voice, and their relationship to sculpture
I explore the role of the architectural in the space between sculptural and spoken narratives, both of which are forms that begin with a flat sheet. The research also looks at how one might write about art in order to expand understanding but not reduce it to one meaning, writing around or through objects so as to leave gaps for the imagination and other narratives. The importance of the voice in the telling of these narratives is investigated, as well as the relationship between bodies and buildings.
luxurious migrant // performing whiteness
(2020)
author(s): Stacey Sacks
published in: VIS - Nordic Journal for Artistic Research
Stacey Sacks is a PhD candidate in Performing Arts at Stockholm’s University of the Arts. Her Doctoral Project *This Untethered Buffoon or the Trickster in Everything* takes form as a suite of hyper-disciplinary experiments with mask, clown, stop-motion animation, film, photography, sculpture, text, drawing and performance.
Drawing on Gayatri Chakravorty Spivak’s concept of ‘critical intimacy’ the performance-essay 'luxurious migrant' reflects on whiteness and privilege and the performance of it. As an intra-cultural, auto-ethnographic excavation it attempts and possibly fails to critically engage with notions of access, authority and power from within the cultural canon. As such it is a creative experimentation with theory and performance, an exploration of the improvisatory impulse and what it means to be ‘on’ the moment.
Since clown naturally contains transgressive elements, the project explores how the genre can be used in a neo-colonial context to subvert or interrupt the dominant discourse, whether satire and parody function as activism and if it is in fact possible to push back white supremacy through critical engagement and play, starting with a robust self-critique.
Britten Folksongs and Their Traditional Counterparts
(2020)
author(s): Phoebe Kirrage
published in: KC Research Portal
Phoebe Kirrage
Classical Singing
Research Supervisor: Anna Scott
Britten's Folksong Arrangements and Their Traditional Counterparts
Question: How do the Britten Folksong arrangements relate to their traditional counterparts, with an emphasis on text?
This research explores the relationship between traditional British folk songs and their Benjamin Britten counterparts.
The function of this research is to create a new relationship between the original songs and their values and the impressions brought about by Britten through his edits. Primarily through harmonic arrangements, changes in melody and textual edits made by Britten.
Both folk and classical music have been crucial components in my life and have shaped me as a performer. There have been a great number of folk songs and tunes arranged for classical music yet there is very little dialogue between the two styles.
I have used a combination of my own fieldwork, interviews, rehearsals, recordings and historical research to create an in depth research into the differences made to the traditional songs by Britten in his arrangements. The final results have come to fruition in the creation of an in depth analysis of the differences between the arrangements and the songs, and a full recording of the sixth book of folk songs with guitar. The outcome is a combination of the two musical styles to create a new sound. A concert will follow in which the new arrangements will be performed in a space and atmosphere inspired by both classical and folk performance spaces. A noticeable difference in my classical performing has also come about through the research into storytelling and freeness in folk performance in combination with classical performance.
Phoebe Kirrage is a British soprano, having previously studied Musicology at Royal Holloway University of London, she is now pursuing her masters degree in classical singing under the teaching of Noa Frenkel. Having sung from a very early age, Phoebe has had the privilege of performing in some of the UKs most prestigious performance venues, including The Royal Albert Hall and The Barbican. In the Netherlands Phoebe has had the opportunity to perform in spaces such has the Grote Zaal in TivoliVredenburg. Upcoming performances include Britten's Turn of the Screw and Psalm 42 by Mendelssohn.
An Obstract for Midpointness
(2018)
author(s): Andrew Bracey, Steve Dutton
published in: RUUKKU - Studies in Artistic Research
Our aim here is to both provide a response to the Conference ‘Please Specify!’ and to find an alternate way of ensuring that the intrinsic generative nature of research and art is kept active, akin to the mobius strip-like path of both conclusions, and openings.
“Midpointness” is a generative project. It is dismantled and reconstructed through the gradual accretion of surrounding connections, associations and influences of the curators, artists, students and other audiences who contribute to it. These are in the form of artworks, public events, texts, artefacts, performances or other interventions. 'An Obstract for Midpointness' (Obstract)is a piece of artistic research constructed before, during and after, "PLEASE SPECIFY!", The SAR Annual Conference 2017.
'Obstract' is as an element of the ongoing project “Midpointness” that seeks to invite us to consider the ‘work’ of art as art’s labour or task. We seek to explore the dynamics of inner/outer dialogues of the process of artistic work, opening up other potentials that an artist researcher might hope for when he/she explores the generative potential of the work of artistic research directly within and in response to a conference about artistic research.
At the centre is spoken text that is a play on the tradition of the conference ‘abstract.’ The abstract is the site of an outline of intention, yet here we couple it with an ‘obstruction’ as a means of aggravating and diverting the attempt at a conclusion towards which an abstract, and indeed a formal presentation, might be aimed. “Obstract” suggests, by a process of intervention that the ‘centre’ (the work and/or the text) and its surrounding universe are completely indivisible. As such the principle of ‘footnotes’ filter through to the whole spoken text; the footnotes being analogous to the surrounding constellations within which the ‘centre’ of the work sits, swapping footnotes for centre and vice versa. The footnotes refer to points both real and imagined in the past, present and future.
Inn i margen
(last edited: 2024)
author(s): Nina Björkendal
connected to: University of Agder, Faculty of Fine Arts
This exposition is in progress and its share status is: visible to all.
Into the margin/In the marrow
This is a woodcut printmaking project based on the book as body, form and platform. It is about the formal aesthetic layout of a book, but also about references to the bodily. In norwegian you have the expression "to feel something into the marrow" leads to reflections on identity and feelings. Also the word marrow is the same as margin. The book's margin offers space for the eye and space for your own notes. It becomes a way to communicate with the author's voice. The types, i.e. the letters in the prints, are found objects. Random bits that others have made. The woodcuts are shown both as framed pictures on the wall, and bound as pages in five different books.
Meridiana: Lines Toward a Non-local Alchemy
(last edited: 2023)
author(s): Søren Kjærgaard
This exposition is in revision and its share status is: visible to all.
“Meridiana: Lines toward a non-local Alchemy” investigates the line as a sonic, textual and visual phenomenon.
Taking off from the four
literary voices: the Dutch philosopher Baruch de Spinoza (1632-1677), the French philosopher Gilles
Deleuze (1925-1995) and the Chinese Taoists Lü Yan (796 C.E.) and Sun Buer (1119–1182 C.E.),
a multitude of meanings are interwoven in a rich network of musical, textual and graphic lines.
The line as a basic concept is emphasized by the first word of the title, Meridiana (plural for meridian), which has terminological roots in both the East and the West. In Western terminology, it denotes one
geographical line connecting the North and South Pole.
In the East, originating from ancient China, meridians (经络) are energy pathways of the body (both human and non-human), which connect internal organs and a number of vital points in a neurological network.
The meeting between these two interpretations of a "meridian", between the geo-physical and sub-physical, between East and West, are the cornerstones of the project, which intention is to weave together the various
meanings and emphases of meridian, while at the same time unfolding an expanding an intersection of lines:
sonic lines, textual lines, graphic lines.
Writing performance : on relations between texts and performances
(last edited: 2023)
author(s): Lilo Nein
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
In art history, performance is categorized as performance art and defined as live-act. However, performance is no longer conceived of by artists as live-act only. Rather, the art of producing performances, according to artists, also includes considerations of their documentation and mediatization. In these contexts a paratextual perspective would enable considering documentation practices as part of performance art, which would also mean to acknowledge that performance is a practice associated with other practices that go beyond the enactment or staging which precedes or follows it. It is my claim that the potential of performance in visual art lies exactly in this ability to divest itself of a stable medial identity. This is to say that performance does not only have the practical need, but also the general potential to connect itself with other media, such as texts and audiovisual records. I think that contemporary performances in visual art cannot be viewed as distinct from the intermedial and paratextual issues with which they are connected. They engage, intermingle and enter into reciprocal relationships with these issues. So, I propose to understand performances in and through their relations to texts.
Research by Lilo Nein
Stolen Voices
(last edited: 2022)
author(s): Rebecca Collins
This exposition is in progress and its share status is: visible to all.
Stolen Voices is a multi-component output consisting of four performances, an album, a peer-reviewed journal article and a book publication. The output is a collaboration between Rebecca Collins (University of Edinburgh) and Johanna Linsley (University of Dundee). Stolen Voices forms part of their five-year (2014–2019) project which invests eavesdropping as a method, combining this with a semi-fictional detective story. An ‘event’ has taken place in 4 sites on the UK coast (Bournemouth, Felixstowe, Seaham in County Durham and Aberdeen) and Collins & Linsley have been tasked to investigate. Eavesdropping is both subject and methodology of the research. Fieldwork in the form of site explorations and the practise of eavesdropping is combined with research into social, political and economic dynamics at the borders and margins of the UK, such as immigration and the impact of climate change on coastal landscapes.
words meet material
(last edited: 2021)
author(s): Jelena Škulis
This exposition is in progress and its share status is: visible to all.
several authors met
in one millennium
and made words
nasty
our contribution to the common minority is meager but necessary / Elias Canetti, from Die Blendung, 1935
aspiration is to
reduce text
in its production
the conclusions are yet to come
questions will come at the end
-
Here I present little passages written by using autoethnographical approach and researching most important issues I cope during creative process. Selected short texts are the part of the artistic research connecting to themes about material and art through words. These little messages I call literature tattoos – usually performed on the skin, but the same action can emerge in the brain structure after reading. The video and artwork ’I have tried everything, nothing works’ were made in 2019, during the residency which was a part of Doctoral studies in University of Bergen, Faculty of Fine Art, Music and Design (Norway). There I was first time not using physical contact with community or handwork but was learning new technology - jacquard.
The texts in artwork =Co woven quotes from the books about artistic research. The set of rules or the menu of instructions are shown as possible (un)helper if you wish to perform (un)successful research being an artist. Phrases were picked out from books intuitively while practicing AR. The question is if, why or when they are helpful.
The whole AR is about analyzing links and boundaries between community, text and material.
Exile and Other Syndromes
(last edited: 2019)
author(s): Budhaditya Chattopadhyay
This exposition is in progress and its share status is: visible to all.
We live in an era of pervasive mobility and (dis)connectivity that triggers perpetual dislocation, where perceptions constantly shift across places to form unsettled geographies, producing meanings that at times are arguably independent from the locative sources. As increasingly migratory being, a wandering urban dweller of today's post-global cities is sensitive to environmental sounds navigating through various urban sites considering them as spatio-temporally evolving but gradually disorienting auditory situations, juxtaposed with real-time spatial information, and memory of another place in another time. The nomadic subject relates to these situations through contemplation, mindfulness and contingent processes informed by the enhanced sense of mobility. ‘Exile and Other Syndromes’ (2015 – 2016) responds to this indisposition of migration, placeless-ness and nomadism – impulses of a contemporary condition that eventually blurs the boundaries between the digital and the corporeal, between local and the global, or between private and enhanced access and freedom of the public domain, helping the nomadic subject to emerge as an elevated, emancipated self. The project intends to examine these contemporary realities manifesting in a responsive, augmented, and intelligent environment incorporating multi-channel sound diffusion, modulated text and audio data visualisation. The work considers mindful aspects of deterritorialized mode of listening, and explores its introspective capacity transcending the barrier of immediate meaning to touch the poetic sensibilities. The première of the working version will take place at CUBE, IEM: Institute of Electronic Music and Acoustics, Kunstuniversität Graz, 19:00, 19 January 2016.
Hyper-listening: Praxis
(last edited: 2019)
author(s): Budhaditya Chattopadhyay
This exposition is in progress and its share status is: visible to all.
The project examines the complex processes through which everyday sounds are perceived as contours of unfolding and intersecting narratives in the mindful contemplation of an itinerant listener; and how do they trigger streams of cognitive associations as contextual interpretation of the sounds in the thoughts. The outcome of the project includes an artists' book consisting of textual interpretation of sound with poetic connotations.
Curious Arts – No. 5
(last edited: 2017)
author(s): Jim Harold, Susan Brind
This exposition is in progress and its share status is: visible to all.
'Curious Arts – No. 5'
CCA, Glasgow, 2011
Sculptural and sound installation
In December 2011 the CCA dedicated its major gallery spaces to a two-week programme that developed its support for writing and publishing within contemporary art practice: "This programme will review the progress of 2HB in the form of an exhibition, ... an events programme and place this activity in the broader context of an international book fair where we can consider how books travel and how we travel through books. ... It has felt like the quality and diversity of artistic practice in Glasgow has been accelerated by art writing and journal publishing, as if the intelligence and sensibility of artistic practice in the city has been harnessed to a new force. ... So, we are wondering: what kind of cultural motor is independent publishing in Glasgow, and how does writing act as a motor within the artist's own practice?"
Quoted from CCA, Glasgow - "2HB: What we make with words. Writing and publishing as motors within contemporary art practice", October 2011 (undated). Exhibition curators: Sarah Tripp and Jamie Kenyon.
Exhibiting Artists: Susan Brind & Jim Harold, Ruth Buchanan, Alex Impey, Paul Elliman, Kathryn Elkin, Hannah Ellul, Kate Morrell, Charlotte Prodger, Thom Walker, and Rebecca Wilcox.
Drawing upon research undertaken in the library at Hospitalfield House, Arbroath (an historic house on the east coast of Scotland), and by means of a sculptural sound installation, 'Curious Arts – No. 5 took the viewer on a journey from the private world of the writing desk to the landscape and a place of images, texts and the history of ideas.
Curious Arts – No. 5
(last edited: 2017)
author(s): Susan Brind, Jim Harold
This exposition is in progress and its share status is: visible to all.
'Curious Arts – No. 5'
CCA, Glasgow, 2011
Sculptural and sound installation
In December 2011 the CCA dedicated its major gallery spaces to a two-week programme that developed its support for writing and publishing within contemporary art practice: "This programme will review the progress of 2HB in the form of an exhibition, ... an events programme and place this activity in the broader context of an international book fair where we can consider how books travel and how we travel through books. ... It has felt like the quality and diversity of artistic practice in Glasgow has been accelerated by art writing and journal publishing, as if the intelligence and sensibility of artistic practice in the city has been harnessed to a new force. ... So, we are wondering: what kind of cultural motor is independent publishing in Glasgow, and how does writing act as a motor within the artist's own practice?"
Quoted from CCA, Glasgow - "2HB: What we make with words. Writing and publishing as motors within contemporary art practice", October 2011 (undated). Exhibition curators: Sarah Tripp and Jamie Kenyon.
Exhibiting Artists: Susan Brind & Jim Harold, Ruth Buchanan, Alex Impey, Paul Elliman, Kathryn Elkin, Hannah Ellul, Kate Morrell, Charlotte Prodger, Thom Walker, and Rebecca Wilcox.
Drawing upon research undertaken in the library at Hospitalfield House, Arbroath (an historic house on the east coast of Scotland), and by means of a sculptural sound installation, 'Curious Arts – No. 5 took the viewer on a journey from the private world of the writing desk to the landscape and a place of images, texts and the history of ideas.
Using ASCII and Unicode 8 and 16-Bit systems, I create patterns in real-time online on my ASCII Digital Design Museum page: https://www.facebook.com/Museum/ ▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋open exposition comments (0)
This doctoral project in artistic research concerns the relationship between music and text when both are created by the same person: a composer writing his own libretti. The project is situated in ‘the everyday’, with commonplace language and daily life situations being examined and explored both thematically and as material. The combination of music with other elements on the stage has resulted in pieces of music theatre, with a focus on different forms of storytelling. The reflection given withing this exposition describes how the works have evolved and discusses the different impulses that have led to specific artistic and ethical choices. This exposition is presented in partial fulfillment of the Ph.d.-programmet i kunstnerisk utviklingsarbeid at the Norwegian Academy of Music.open exposition comments (0)
Into the margin/In the marrow This is a woodcut printmaking project based on the book as body, form and platform. It is about the formal aesthetic layout of a book, but also about references to the bodily. In norwegian you have the expression "to feel something into the marrow" leads to reflections on identity and feelings. Also the word marrow is the same as margin. The book's margin offers space for the eye and space for your own notes. It becomes a way to communicate with the author's voice. The types, i.e. the letters in the prints, are found objects. Random bits that others have made. The woodcuts are shown both as framed pictures on the wall, and bound as pages in five different books.open exposition comments (0)
The project examines the complex processes through which everyday sounds are perceived as contours of unfolding and intersecting narratives in the mindful contemplation of an itinerant listener; and how do they trigger streams of cognitive associations as contextual interpretation of the sounds in the thoughts. The outcome of the project includes an artists' book consisting of textual interpretation of sound with poetic connotations.open exposition comments (0)