Sounds of walking: Can sound re-present the embodied experience of movement time and distance in the landscape?
(2024)
author(s): Martin P Eccles
published in: Research Catalogue
In this thesis, having introduced my research questions, in Chapter 2 I present a layered analysis of the important contexts of my practice—walking, sound, walking poetry, and place. In Chapter 3 I present and discuss three works that together explore how it is that I know the world as a sensate embodied walker. In Chapter 4 I develop what I came to call replicated walks—walks made more than once in the same place. Begun in order to re-configure time, they also led me to extend my consideration of place beyond that defined by geography, to place defined by biological phenomena or socio-cultural coherence. In Chapter 5 I describe my emerging ideas of human-scale of place and my underlying ideas of island-ness. Initially I worked on real islands, walking circumferential routes and those defined by chance procedures. From this I developed an imaginary island in the foothills of Northumberland’s Cheviot Hills; made from the human-scale of my embodied walking this led to my creation of an imaginary pandemic island of containment, created in a city, in my locale, made, and made real, by the traces of my embodied walking. Together my works constitute a body of work that represents a contribution to knowledge with specific contributions of: the use of Replicated Walks as a method of experimenting with time and place; Walking Words – the presentation of poetic text in forms (concertina-fold books, scripta continua, scrolls) that requires walking to engage with it, and that also function as metonyms for my original walking act; Walking Islands –the use of human-scale walking to imagine an island into existence, and then invoke the island as a lens through which to continue to pursue the idea. My work also contributes knowledge to the methods of how to record the sounds of the world whilst walking through it, over extended distances and time.
10.1
(2023)
author(s): Levin Eric Zimmermann
published in: Research Catalogue
10.1 is a sound art installation and a sequence of daily performances over a lunar cycle resp. 30 days. It deals with questions about the relationship between art and life, the passing of time and its context in a wider discourse.
INSTALLATION SETUP
The installation view is located in a shop window in a small urban space. It consists of brown sheets of paper hanging from the ceiling of the space that are visible through the storefront windows. On the pages are printed the current lunar cycle, musical notations, text quotations, or quoted drawings. In the lower part of the display window are three instruments. Each of these instruments has three strings that are moved by electromagnets. The resulting sounds are picked up by guitar pickups and sent to tranducers attached to the shop windows so that passersby could hear the sounds through the vibrating window panes.
PERFORMANCE SEQUENCE
Every evening I went into the installation room to play a page of the score with my guitar. Each page lasted as long as the sunset lasted on that particular day in that particular place. My playing was not only accompanied by the magnetic string instruments, but initiated by them, as the instruments began to play as soon as the sun set, signaling me to join them. After the sun set, the instruments played a dedicated night light composition. These night light compositions were composed by me as a daily routine during this lunar cycle. They sounded throughout the night until dawn, when another composition would begin, signaling the transition to the silent daylight.
CRITICAL PLAYGROUND AS PLAY-CE UTOPIA. (MANIFESTO FOR A DIFFERENCE IN ITSELF.)
(2023)
author(s): Anartist
published in: RUUKKU - Studies in Artistic Research
City of Panic is an urban intervention, which has been realized by The Anartist (Gian Luigi Biagini and John Dunn). It happened in 2019 in the central train-station square of Helsinki. The installation-performance is a "caged mini-golf", which catches and elicits many disruptive resonances. The intervention challenges, contests and makes visible the "iron cage of rationality" that organizes the capitalist urban space through an ordoliberal trans-institutional consensus that does not leave space for the expression of Difference. The intervention puts in "play-ce" a critical and mystic playground of Difference in Itself that breaks the cage of assimilation to a functional hierarchical identity. The article describes this complex experience of rupture and cata-comic rapture by a phenomenology of the process in becoming. A phenomenology and an ethnography of difference, with theory references "in flight", that cannot be completely grasped by a homogenous and unified signifier, narrative, representation. Even the style of the graphic tries to evoke this "virtual heterogeneity of intertwined planes and becomings" that are sutured and re-composed by creative writing.
Splitting Mammalian Weeds: Monster for a Memory
(2023)
author(s): Shana De Villiers
published in: Research Catalogue
This is not a thesis of trying to mine a singular understanding, but a collecti(ion)(ve) body of research composed into a gesture. Other than my memories, I have only grazed the surface of the topics I will discuss (even then, memories are at the fragile grace of synaptic connections) There are holes here, tears that will take a lifetime to mend. As I will mention later, I am not interested in a singular whole. Holes, however, are curious places with a warm spot for happenings, so I am okay with the holes.
All patchworks are several and my obsession with their cobbled nature does not mean there are no moments of stillness and clarity. This work is an archive of the muddiness of being and I invite you to draw parallels with your own logic as you stumble through this patchy, leaky, weed forest.
Back to Present
(2022)
author(s): Thalia Hoffman
published in: VIS - Nordic Journal for Artistic Research
Back to Present discusses the themes, filming structure, and editing process of the short film A Day Becomes (2018). The film is part of Guava, a platform for art-actions that promotes the idea of free movement and the removal of borders east of the Mediterranean. In this exposition and in making the film, I explore the possibilities of political imagination regarding regional movement across borders in relation to the phenomenon of Time.
The exposition has two parts. The first, entitled Here, unfolds around discussion about the landscape; the second, called Now, suggests that how time is experienced can affect how one experiences one’s surroundings. The form of the texts correlates to the content, form, and making of the film. The film making text is set in the center of the exposition, and the other discussions push themselves in and spread over the page. Like the text, the film’s continuous timeline is dense and loaded with plural repetitions and conversations. The interlaced reflections and commentaries that characterize the text echo Yousef’s layered performance of time in the film.
With its layout and content, the exposition explores the film’s structure and embodied experience of the landscape through time: it is a way to rethink and re-feel the Here of this region through the lingering Now of the film.
This exposition was developed from my PhD thesis at the PhDArts program, Leiden University
Fragments in Time
(2022)
author(s): Tobias Leibetseder, Thomas Grill, almut schilling, Till Bovermann
published in: VIS - Nordic Journal for Artistic Research
The processual sculpture "Fragments" is in permanent development and consists of artefacts of the "Rottings Sounds" project of artistic research*. Waste, things collected, things stored and things put aside, texts, pictures, data, sounds etc. are the basis of the shape-changing work. It is located at the Auditorium of Rotting Sounds. For this exposition, media representations of physical fragments have been arranged, then subjected to multiple stages of erosion processes specific to digital data. Object or exhibition, museum or archive, collection or documentation are moments of intrinsic research and decomposition, accompanying the process and resting in the distant but immediate eye of the virtual observer.
*"Rotting Sounds – Embracing the temporal deterioration of digital audio" is a cooperation of the mdw – University of Music and Performing Arts Vienna, the University of Applied Arts Vienna and the Academy of Fine Arts Vienna. It is funded by the Austrian Science Fund (FWF) as project AR445-G24.
The Atemporal Event
(2021)
author(s): Helga Schmid, Kevin Walker
published in: Journal for Artistic Research
The COVID pandemic has prompted many people to reconsider their previous living and working rhythms and to consider alternatives. We believe that the global enslavement to the standardised time of clocks and calendars has had a negative impact on us individually, socially, and environmentally. We aim, therefore, to change perceptions of time by helping people step outside societal time, treating time instead as a malleable material that can be stretched and moulded.
This exposition describes our process, outcomes, and analysis in staging an event using an alternative approach based on natural and material time processes specifically related to the body and the external day/night cycle driven by light colour and intensity. In a twenty-four-hour event in London designed around chronobiological phases, we investigated our research question of how to change perceptions of time by treating it as a malleable material.
We discovered that treating time as a malleable material necessitates first stepping outside of the clock-time system: in our case, using daylight and bodily chronobiological phases as alternative time-givers. Dialogues using linguistic and non-linguistic means between ourselves, our collaborators and participants, as well as with our tools and materials, resulted in treating time as place, and places and things in temporal terms. We discovered that time is not only stretchable but can take different shapes and qualities, with multiple times existing alongside each other, by 'programming' actions and activities through performance, rhythm, and materiality.
Our research focuses on the broader issue of the ‘time crisis’ as identified by sociologists, chronobiologists, and philosophers, as a result of acceleration processes driven by digital technologies and contemporary 24/7 societal norms. We address this by bringing together Helga's research on ‘uchronia’ (temporal utopia or non-time) and Kevin's anthropological perspective on designing embodied experiences.
‘[…] Biology of One Body’s work’: A video collage of seconds counted while drawing + 2-minutes’ playback layered a number of times
(2021)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
A three-minute video, including title and credits, concerns a second re-working, in effect layer three, of a drawing that references incidental observation of the inside of a glass jar and additional materiality, such as an action camera worn in front of the eyes and how the jar is attached to the drawing’s surface to enable the process’s video recording. The audio concerns the counting of seconds while drawing and the prolonged intonation of the word RAUM, German for space. Each of these vocal elements directs and impacts on the drawing procedures, the latter of which are implemented with pencils designed for marking on non-porous surfaces such as plastic and glass, and erasure of such pencils on laminated white cardboard. The video fades in and out of the drawing at each of its three stages, two of which were from times prior to making the video, the last of the stages of which was up to the time of beginning the video. The video is also interspersed with scrolling typed indication of the various correspondences between the counting of time and phrases of spoken monologue, the latter of which has been divided into two audio layers through having been recorded onto both the camera’s microphone and an external voice recorder. At 1: 47mins of the video the content fades to a muted simple scroll-through animation of the completed drawing of the previous video content played back a number of times, which had been responded to through the layering of the drawing the same number of times across nine pieces of handmade paper, 51 x 36cm, in plastic-based pencils and acrylic paint. The video encapsulates the above-mentioned individual facets as a single entity that provides some comment on the diverse nature of time in the context of its experience in and as drawing.
Keywords: drawing; time; monologue; language; intonation
JAZZ DRUMS: 5 unconventional comping examples
(2021)
author(s): Dimitris Koutantos
published in: KC Research Portal
After a long investigation of the jazz discography from 1920s until today, Dimitris Koutantos chose 5 recordings which contain drum-comping styles with these two characteristics:
1)not-cymbal-oriented
2)non-repetitive.
For his research exposition, he uses a variety of media (such as videos, musical notation & text) to show you his path:
-searchng and choosing recordings
-transcribing them
-analyzing them
-creating different exercises (to solve problems)
-turning what he learned into action
-looking for his own comping style (inspired by those drummers)
-sharing his thoughts and conclusions.
With this research, Dimitris hopes to help other drum-students:
-explore these 'unconventional' styles of comping
-improve their time & co-ordination
-search for their own style.
The Sound of Software Tranquillity
(2021)
author(s): Erik Natanael Gustafsson, Baudry Benoit
published in: RUUKKU - Studies in Artistic Research
This exposition is an investigation into software tranquillity through sound. One second of activity on a laptop was recorded by tracing the function calls within the Linux kernel. Can software be wild or calm? If so, what would calm software be like? Imagining that the software could experience its own existence, is the nature of its tranquillity or activity apparent to it? Can we as humans experience the tranquillity of software, if it indeed exists, and can we experience it as tranquil? Listen to fragments of one second worth of real software (in)activity while we present and reflect on the outcomes of this investigation.
Exploring and Prototyping the Aesthetics of Felt Time
(2020)
author(s): Elsa Kosmack Vaara, Cheryl Akner Koler
published in: Journal for Artistic Research
The intention of this research is to investigate how interaction designers may explore felt time through the culinary practice of sourdough baking. In this exposition we share how the physical experience and manipulation/shaping of time in sourdough baking provides an experience of fulfillment and satisfaction. We show our insights on how interaction designers, and possibly many other communities of practice and discourse, may learn from this.
The goal is to inspire the audience to engage in a broad and critical discourse around felt time and to emphasize the value of prototyping a felt time repertoire in interaction design. The research exploration is built on the collaboration between an interaction designer/researcher, a culinary connoisseur baker and a sculptor/design researcher and teacher.
Losing time
(2020)
author(s): Daniil Pilchen
published in: KC Research Portal
We usually perceive time as an integral part of our everyday life. We try to wake up at the same time every day, we schedule our affairs and get upset if a train is five minutes late. However, we often face situations that challenge our usual experience of time when we notice an uncrossable gap between this experience and what can be measured by clocks. I believe that music is infinitely capable of providing us with such experiences, and creating that kind of confusing time with music is the main focus of my research.
At the heart of this research is the idea of three ways of representing time in music: measured, unmeasured, and immeasurable. Theoretical conceptualization is mainly built upon the works of Henri Bergson and Alexander Vvedensky. However, their works focus mostly on individual experiences of time, but my main question is how one can communicate such an experience to other people through music, and how to make this experience social. I analyze different musical strategies that deal with unmeasured time or challenge the idea of measurement itself.
I conclude by presenting my own strategies of creating confusing temporal experiences, mainly through building failing hierarchies of temporal authorities and challenging the possibility of simultaneity. These strategies are presented through the series of pieces called “Songs” on which I have been working while writing this paper.
MEMORY AS A METHOD FOR FILMMAKING
(2019)
author(s): Emilio Angel Reyes Bassail
published in: Journal for Artistic Research
This research develops a method for filmmaking that uses autobiographical memory as a guiding principle for the production of images. The proposed method comes as the result of a double gesture in which I wanted to a) acquire a subjective understanding of memory that came from artistic practice; and b) materialize the process of memory through film.
I used the filmmaking apparatus as a technique to give visibility to the process of remembering and forgetting: I worked with strategies such as the elaboration of a “memory diary”; the drawing of spoken portraits and locations based on memories; casting techniques which involved a dialectical approach towards memory; scouting trips to find places from my memory; hypnosis sessions as a technique to recover lost memories; reenactments of memories; a method to direct actors that relied on memory as a guiding mechanism; and the editing of the footage through a process of memory associations.
While doing this research, I inadvertently found that the techniques I used led to a process in which memories were rewritten through experimentation. Thus, the method produced a conceptualization of "memory" that frames it as a creative process. In the process of working on this project, I developed a very subjective approach to the craft of filmmaking that was informed by my particular relationship with memory. Thus, the proposed method of using personal memory as a core mechanism for the production of audio-visual products can be utilized as a tool for film education, promoting the creation of personal film languages based on an individual's memory, and as device to reflect on the subjective process behind an individual's artistic practice.
Oppdagelse og navngivning
(2019)
author(s): Asle Nilsen, Niklas Adam, Eirik Arthur Blekesaune, Piotr Pajchel
published in: VIS - Nordic Journal for Artistic Research
There is a fundamental enthusiasm and curiosity that drives our attitude towards experimentation. Free basic research is the fundament for all new apprehensions. Each production leads us into new landscapes. Experimentation is artistic immersion.The concept of risk and possible failure is a natural part of this experimentation.Without taking risk, art would remain stagnant, and the creative spirit would be wasted on our own fears.
In this exposition we will elucidate some of the many fields of interest and tools for expression we have worked with during the development of our latest production – HANNAH – which premiered September 2017 at Henie Onstad Art Center in Oslo in connection with the Ultima Festival. In HANNAH Verdensteatret works with elaborate spatial compositions that provokes a state of absorption in an immersive audio-visual space. These compositions consists of material generated in an electronic feedback system. This material forms a sedimentation process that unfolds as a fixed attention towards exhaustion and the act of observing slow changes. Like a physical object slowly affect its surroundings. A production from Verdensteatret is a glimpse of a present, a state of transitions and passages through phenomenons. The present is a memory in motion. At the same time, there has never been so much past as right now.
This is not / Dette er ikke
(2018)
author(s): Anne Marthe Dyvi
published in: VIS - Nordic Journal for Artistic Research
The language of art is often poetic and abstract.
Reduced and lawless in terms of grammar. I experience the poetic and abstract language as closer to the experienced world than the more concrete and descriptive language that is the norm in the majority of formulations in society. In my artistic practice at the moment, I work with color, movement and time. In the video medium. To say that art is a language is also an assertion, or a worn metaphor. We have no written language rules we agree upon in the arts, no defined alphabet. And maybe that's exactly what the making of art is? Creating form, while challenging form? Being the practitioner, and in that sense defining, in a landscape of concrete and abstract, in definite and indefinite and fluid and solid.
To create while shaping the form of it, is something else than performing within a given formation.
This contribution to a digital catalogue for artistic research are selections of my work, and thoughts, related to it translated into pieces of texts.
Some pieces of text along with some video pieces as well as a print from a video, a so-called 'still'. They are selected to function in different constellations, and for several reasons. A collage as a method and a way to relate to my own work, and with the selection, emphasizes the content of the texts. I apply my own thesis discussed in the text upon my contribution 'here' *. My contribution appears in Vis – Nordic Journal for Artistic Research. The digital is representation. It is not. It is equally important to me that this contributed in form acknowledges that making a presence in an internet-based database is not without hyperlinks. It appears because the other is.
* Where is 'here', what is 'here'?
(Video and video with sound.)
The visual material in this exposition is from the videos 'La ditt liv vitne'(2017), 'Essay on Colour'(2017) and Perceptual Cycle (2016). By Anne Marthe Dyvi.
Marking the passage of time in space
(2017)
author(s): Lucila Nalvarte Maddox
published in: Research Catalogue
This text presents painting as a visual mechanism with which to communicate the otherwise invisible concept of the limitless passage of time in space. To do so, it demonstrates a series of ways through which the mind negotiates with the hand to process painting materials and techniques as part of an attempt to materialise the invisible. Consequently, the act of painting itself becomes both subject and motivating force. This project was first envisioned whilst travelling on a train high up in the Andes. My curiosity, although frightening was well rewarded when suddenly I noticed that the train tracks were not only limitless, but also invisible due to the speed of the train. At that moment, time and space became both eternal and invisible. Elucidating the invisible through sensory and non-sensory perception is not an easy task, for it implicates a conundrum that is no longer exclusively the domain of science but rather that of art and philosophy working in concert.
Where are the Ears of the Machine? Towards a sounding micro-temporal object-oriented ontology
(2015)
author(s): Morten Riis
published in: Journal of Sonic Studies
Drawing on micro-temporal media archaeology paired with object-oriented ontology, this paper will develop new ideas regarding non-human conceptualizations of sounding media, memory, time, and sound objects. Studying the way in which music machines collect and store auditory data enables us to get closer to the inner functioning and self-reflections of our sounding apparatuses, creating alternative perspectives on mediated representation and the various temporal processes unfolding within technology. Thus an interweaving of object-oriented ontology and media archaeology is unfolded, taking its starting point in a practical engagement with electro-magnetic recording devices which execute what could be described as applied ontology, something that generates awareness of the moment when media themselves become active archaeologists of knowledge.
Practices for the future / an Artogrphic approach
(last edited: 2024)
author(s): Sebastian Ruiz Bartilson
This exposition is in progress and its share status is: visible to all.
Task submission for course Dokumentation, reflektion och kritisk granskning / Documentation, Reflection and Critical Review
Application of Artographic methods towards own and/ or others dance practice.
Project "Practices for the future"
Human Speed in Music
(last edited: 2023)
author(s): Ned McGowan
This exposition is in progress and its share status is: visible to all.
Despite the ubiquitous role of time in most everything we do there is still much to understand about its essence as a function of human perception. One way to learn about the cognisance of time is simply by listening to music. The rhythms, sounds, and silences of music are jacketed by the human condition. The expansive identity of time with its major implications in the realms of science, philosophy, and religion, tells little about our immediate experiences in music. The concept of speed, though, is full of enlightening character.
In this essay, I explore the experience of speed in music with an artistic research methodology. Based on my artistic and pedagogic experience, the arguments consider areas of performance, composition, and perception, and references are made to neurobiological research. A multitude of perspectives are presented here, such as an explication of speed, a study on tempo 10 bpm, the relationship between emotions and our perception of the speed of time, plus many musical examples, including compositions, tests of duration and maximum speed perception and a full range of musical speed.
The goal is to reveal properties about musical speed to provide a clearer concept for the reader to experience, interpret and conceptualize for herself.
[Improvisations] Innere gesang / Inutil
(last edited: 2022)
author(s): RC i2ADS, Bruno Pereira
connected to: i2ADS - Research Institute in Art, Design and Society
This exposition is in progress and its share status is: visible to all.
Innere gesang manifests the deep connection of the thought-voice-body system and discusses the singularity of the voice as voice, leading us to an expressiveness closer to the inner song that wishes to be shared. Here, the voice appears as an expressive device for the aesthetic interaction of this internal sound, this internal song.
Inútil [Useless] is a sound/performative speculation about the uselessness of performance. Part of the desire to excavate a useless, non-current, inoperative, unclassifiable, intrusive, inexhaustible, insatiable, independent, intentional, intense, inner, interactive, indomitable, restless, inefficient performance.
Collecting Walks
(last edited: 2020)
author(s): Elsa van der Linden
This exposition is in progress and its share status is: visible to all.
catching moments by collecting walks
DESERT DWELLING
(last edited: 2018)
author(s): Christine Hansen
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.
Zeitraum Formulations
(last edited: 2018)
author(s): Gerhard Eckel
This exposition is in progress and its share status is: visible to all.
Zeitraum is a sound environment created in the context of the artistic research project 'The Choreography of Sound'. The work exists in several formulations and embodies important findings of the project. This exposition allows for an enactive exploration of all formulations but the primary one installed in the György Ligeti Hall in Graz/Austria.
Inverse
(last edited: 2017)
author(s): Florian Dombois
This exposition is in progress and its share status is: visible to all.
The public art project "Inverse" investigates on the possibilities to model and imagine a reverse time. The artist Florian Dombois engages for this with scientists of all disciplines from the City of Dresden, Germany, and collects examples to approach the unimaginable.
On May, 30th, 2015, 12-14 h a Flock of Happenings was held on Postplatz in Dresden. On May 28th, 29th and 30th three podiums took place developing the discourse.
This webpage collects different material:
* Documentation of the different projects during the Flock of Happenings
* Examples from Art, Literature, Film, Music, and Videogames
* Press Material
"Inverse" is curated by Thomas Eller, Berlin.
Assistance: Irène Mélix, Lisa Poelker, Dresden
Meta-Landscapes: Expressions of Temporal Consciousness, New Abstractions in Photography
(last edited: 2015)
author(s): Jason Engelund
This exposition is in progress and its share status is: visible to all.
Artist Jason Engelund approaches photography by addressing psychological frameworks of different world-time views, and shifts in perceptions of time during individual events. The notion of a “visual time signature” is proposed, a phrase to describe types of temporal consciousness, incorporating cultural and individual time perception as they relate to cognition, experience, and image. Expressions of the “meta-landscape” encompassing both the psychological landscape and actual landscape are pictured and discussed.