Research Catalogue

an international database for artistic research

• 2024. ACPA ACPA 2024

• Veranderend kunstenaarschap : de rol en betekenis van de kunstenaar in participatieve kunstpraktijken (last edited: 2023) author(s): Rina Visser connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  This research of Rina Visser is only available in Dutch. De positie van kunst en kunstenaars in de westerse samenleving is de afgelopen decennia sterk veranderd. Veel kunstenaars voelen zich maatschappelijk betrokken en zoeken naar aansluiting bij de samenleving. Participatieve kunstpraktijken zijn daarvan een goed voorbeeld. Bij deze kunstvorm werken kunstenaars samen met burgers in hun eigen leefomgeving. De kunstpraktijken zijn gericht op maatschappelijke vraagstukken. Burgers worden met inzet van verbeeldingskracht geactiveerd om te reflecteren op hun eigen situatie en zo tot een andere visie te komen. Het werkterrein van de participatieve kunstenaar wordt daarmee van atelier, theater of concertzaal naar de samenleving verplaatst. Participatieve kunstpraktijken zijn zowel sociaal-maatschappelijk als kunst gericht. Door deze nieuwe manier van werken komt de kunstwereld en de kunstenaar in een ander daglicht te staan. Om deze veranderingen nader te kunnen vaststellen, zijn vijf participatieve kunstpraktijken in de Randstad onderzocht. Uit het onderzoek blijkt dat ook de artistieke identiteit van de kunstenaar van invloed is op de inhoud en vorm van de kunstpraktijk. Sommige kunstenaars zijn gericht op het kunstwerk als eindresultaat. Anderen vinden het sociale proces van de deelnemers belangrijker. Ook de invulling van de deelnemersparticipatie blijkt daarmee samen te hangen. Participatieve kunstenaars vervullen een nieuwe rol in de samenleving, namelijk die van netwerkkunstenaar.
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• La Cetra Cornuta : the Horned Lyre of the Christian World (last edited: 2023) author(s): Crawford Young connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  “La Cetra Cornuta : the Horned Lyre of the Christian World ”A musical instrument of substantial importance in the history of Christianity, specifically during the Romanesque, Gothic and Renaissance periods in Italy, the cetra was the forerunner of the stringed instrument known in English since the 16th-c. as “cittern”.This study of Crawford Young presents a detailed examination of the chordophone, featuring an iconographical catalog assembled from the visual arts c. 1100 - c. 1540. The field of iconographical data presented in the catalog is then analyzed, together with relevant literary and music theory sources from the same period, to give a definitive account of the instrument’s morphology, evolution, construction, cultural identity, musical function and repertories. Art historians as well as music historians and players of mediëval and Renaissance instruments will find answers to questions raised about this uniquely Italian ancestor of the High Renaissance and Baroque cittern, as will anyone seeking to gain a more focused view of musical instrument history in Italy during the centuries that shaped Western culture; for here is a stringed instrument recalling Classical Antiquity, and one of quintessential importance to both Christians and Humanists: made in Italy.
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• The Informed Performer (last edited: 2023) author(s): Joost Vanmaele connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  Playing a musical instrument is generally considered to be a complex human behaviour involving the integration and coordination of a broad range of human functions such as perception, imagination, memory, information processing, emotion, communication, and dexterity. From this perspective, it seems only reasonable to assume that, in an age of informational and communicational abundance, this intrinsic multifacetedness manifests itself in numerous informational contact-points between musical practice and a variety of academic and para-academic fields which zoom in on these specific elements of musical activity. Joost Vanmaele’s dissertation is directed at carefully and systematically evaluating the position of musicianship in an age of informative abundance and connectedness, to consider ways of re-balancing and broadening its epistemic grounds and attuning its information systems, with a view to artistic development, enrichment and/or liberation. By proposing a Bio-Culturally informed Performers’ Practice of Western Art Music [BCiPP], an information- and dialogue-friendly, transdisciplinary space is created where musical activities are not considered as phenomena sui generis but rather as informable cultural instances or personal particularisations of the human capacity to meaningfully generate and react to temporally patterned sounds. The potential impact of BCiPP is put to the test in two case-studies.
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• Global Music: Recasting and Rethinking the Popular as Global (last edited: 2023) author(s): Carlos Roos connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  The present dissertation revolves around popular music as a global phenomenon. The research focuses on the form and meaning of its musical structures and their rapport with everyday experience1 at the dawn of the 21st century. In what follows, I argue that the ontological key to popular music lies in the dialectic between formal attributes and societal dynamics, between musical text and cultural context. To that end, this inquiry unfolds at the intersection of cultural musicology and media studies. Research by Carlos Roos
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• 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
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• On the origin of patterning in movable Latin type : Renaissance standardisation, systematisation, and unitisation of textura and roman type (last edited: 2023) author(s): Frank Blokland connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  This PhD-research by Frank Blokland is conducted to test the hypothesis that Gutenberg and consorts developed a standardised and even unitised system for the production of textura type, and that this system was extrapolated for the production of roman type in Renaissance Italy. For roman type, Humanistic handwriting was moulded into a prefixed standardised system already developed for the production of gothic type. This was possible because there is an intrinsic morphological relationship between the structures of the written textura quadrata and the Humanistic minuscule. Renaissance typographic patterning was in part determined by prerequisites for the production of type. The typographic conventions are not purely the result of optical preferences predating the invention of movable type but are also the result of the standardisation of characters in the Renaissance type production. By mapping the underlying harmonic and rhythmic aspects, we gain more insight into what exactly the creative process in type design comprises, and what its constraints are. Furthermore, it makes the parameterisation of digital type-design processes possible.
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