Hamlet: between keywords and art
(2024)
author(s): Guglielmo Battistini
published in: Research Catalogue
This is a test for the Ai KOBI project at Academy of fine arts of Rome.
The exposition "Hamlet: between keywords and art" goes to analyze the differences between two AI, KOBI and Chatgpt.
Starting from excerpts from the scene 4 and 5 of Shakespere’s Hamlet, when Hamlet meets the ghost of his father, who asks him to avenge his death I identified parts of the text from which I then found keywords, chosen on the basis of the text and a brainstorming of ideas
Precisely through these keywords, many times similar to each other by meaning, I tried to explore the KOBI system and its responses diverging from those of Chatgpt.
On the left we found text and images that are proposed by KOBI after the insertion of the keywords, while on the right, the answers of Chatgpt.
The display is four pages plus introduction and conclusion.
APROXIMACIÓN AL ARTE VISCERAL, desde el maquillaje y la práctica protésica.
(2024)
author(s): Laura Rodríguez
published in: Research Catalogue
Estudio de las diferentes prácticas artísticas que engloban un arte visceral, analizando la corriente artística de La Nueva Carne y toda representación de este carácter en la actualidad, esencialmente dentro del Maquillaje de Efectos Especiales. Incluye grandes referentes en este campo, para una futura práctica personal.
O naufrágio e as miragens da ilha.
(2024)
author(s): FELIPE Argiles
published in: Research Catalogue
Desenvolvendo um ensaio visual a partir de reflexões sobre a metáfora do naufrágio e a experiência de imigrar.
Como naufragar em segurança
(2024)
author(s): Diego Xavier
published in: Research Catalogue
Este é um ensaio sobre a metáfora da navegação baseado no texto “A Engenharia do Naufrágio” de Hans Blumenberg . E aborda como a deriva lúdica, a cartografia e a psicogeografia, atuam enquanto metodologias de pesquisa em minha investigação em artes.
A Future In The Past
(2024)
author(s): Theodore Parker
published in: Research Catalogue
A Future In the Past is a research project engaging with the application of methods from Historically Informed Performance and Media Archeology towards problems found in the practice of Live Electronic music. In doing so the project sought to expose lost discourses in the medium as viewed from the performer’s perspective. Three pieces by composer Udo Kasemets were chosen as case studies. All compositions were originally written and performed prior to the 1990’s boom in digital processing. Each case study explores themes related to Liveness, Audience Interaction, and Hyper Instruments. In developing the historical context for each work several strategies were undertaken. Kasemets’ archives were reviewed at the University of Toronto, performers of the original pieces were interviewed, and investigations into period specific instruments were conducted. Additionally, Kasemets’ own published writings were used to reference his aesthetic ambitions as well as for comparison with his contemporaries. Rehearsals were carried out with The Estonian Electronic Music Ensemble, where the historical data and performer experiences were combined to create an individual interpretation for each composition. These interpretations were then presented to an audience and alongside contemporary issues currently debated in Live Electronics
The Institute of Constrained Chaos
(2024)
author(s): Tijs Ham
published in: Research Catalogue
This supportive narrative is connected to the graduation project 'The Institute of Constrained Chaos' (TIOCC) which investigates the use of chaotic processes in order to enhance musical expression of a live electronics performance. Inspired by the chaotic, expressive, musical power of overblown brass instruments, the project aims to develop a live electronics performance that utilizes a combination of new and existing hardware and software such as no-input mixing, circuit bending, digital signal processing and sensor based controlling to create an instrument that navigates the musical edges between order and chaos. The project has resulted in a ten minute improvised performance in collaboration with Bart van Gemert, a drummer, as part of a concert series organized and executed by a group of HKU graduate students operating under the name 'Custom Made Music' (CMM). Through many tryout concerts and several iterations of the instrument it can be concluded that the use of chaotic processes can enrich the expressive musicality of a live electronics performance.
