Wormhole Workbook
(2018)
author(s): Mariana Nobre Vieira
published in: Research Catalogue
301 Research Semester Workbook
SODA MA HZT/UDK Berlin
April - July 2018
HISTORY NOTEBOOK
(2018)
author(s): Patti Fraser, Flick Harrison
published in: Research Catalogue
The question: whom do you walk with? Was put to me as a way to reflect on the history of my practice as a community engaged artist over the last part of the twentieth century living on the west coast of Canada. This interactive research space is an attempt to respond to an alternative notion of history and the influences on this art form over the course of thirty years. It also seeks to acknowledge the communities of people this art practice allied itself with. These people and their communities often lived outside and beyond the margins of the national narrative of history and its parade.
It is my hope this site offers a pedagogical space that invites students, researchers, educators, artists, and others to consider the questions that populate and characterize socially engaged arts practice and arts based research. The author’s reflections and writings captured at the roots of this reflection range from videos, poetic inquiry, reports, and scholarly essays on the nature of my experience of working in this field.
Crafting Context: An Inquiry into the Art of Curating Music Performance
(2018)
author(s): Imogen Cooney
published in: Research Catalogue
Crafting Context: An Inquiry into the Art of Curating Music Performance
Thesis written by Imogen Eve (3134989)
Master of Music:
New Audiences and Innovative Practices (Specialization)
Royal Conservatory of the Hague
Published on June 21, 2018
Supervisors: Falk Hübner and Renee Jonker
Subject Teacher: Renee Jonker
Research Question
“How can present-day classical performance experiences be curated to fuse attentive listening with active audience engagement in non-traditional performance settings?”
Research Summary
This study explores how curatorial practices can be utilized to create new performance contexts that aim to fuse classical aesthetics with 21st century cultural values. Through research analysis, a Curatorial Methodology is formulated specifically for music events and then applied to case study projects.
The outcome of this research has found that the tools within the curatorial method do aide in transforming these non-traditional performances into more engaging and artistically rewarding experiences. Even within the limitations of this study, this method of approach has the potential to craft new performance contexts that positively impact both classical and non classical musicians as well as generate engaging music experiences for 21st century audiences.
Biography
Imogen Eve is an independent performance arts curator and designer, specializing in creating immersive and interactive concert experiences. Utilizing her training as a musician and within theatre, she crafts the emotive elements inherent in live music with the environmental and atmospheric elements of spatial design to construct narratives - storytelling experiences communicated through sound and space.
Imogen trained as a classical violinist and went on to study at the Queensland Conservatorium of Music (2009-2013) and at the Australian National Academy of Music (2014) whilst simultaneously working within theatre as both an actor and an artistic director. In 2012 she founded and directed The Painted Feet Orchestra, an interdisciplinary performance collective, and directed their productions in the 2012 Anywhere Theatre Festival (AUS) and the 2013 Music by the Sea Festival (AUS). From 2013 - 2015, Imogen was co-artistic director of the Deep Blue Orchestra (AUS) for their production of India Stories in the Woodford Folk Festival and at the Brisbane Powerhouse. As a freelance music director, Imogen worked with Fractal Theatre Company (AUS) on Secret Love Life of Ophelia in 2012 and The Shakespeare Theatre Company (AUS) on Mary Stuart in 2013.
In 2016 she began her master research at the Royal Conservatory of the Hague specializing in curatorial practices for music performance. Imogen currently lives in The Hague and engages in freelance curatorial projects and performs as a violinist with the Pynarello Ensemble Collective.
Capturing Intimacy: Translating Intimate Moments in Film
(2018)
author(s): Kerstin Parth
published in: Research Catalogue
The aim of this arts-based research project was to examine the translation of intimacy in film and to create a transparency for the accompanying artistic decision-making processes. The research focus was to explore the processes involved in the production of moments of intimacy from an inter- and transdisciplinary perspective, and to study the contexts in which intimate moments are "translated" into moving images. Within this context, this project was particularly concerned with filmmakers' experiential knowledge about creating intimate moments within an artistic framework by employing different technologies and staging them in different ways, as well as with asking how this attributes meaning to these intimate moments.
The framework of this research project includes an inter- and transdisciplinary workshop aimed at initiating a dialogue and exchange of knowledge between theory and practice. This workshop aimed to reflect together on the artistic (subjective creative) decision-making processes, to hone the research questions and lay the foundation for the artistic research that took place in the FILM LAB (film research laboratory).
The establishment of a FILM LAB served as an innovative and open research space in which filmic translation and decision-making processes could be observed and rendered comprehensible by employing a "slow-motion procedure". In particular, the FILM LAB aimed to highlight the complexity of intimacy and sound out specific processes of translation by employing and reflecting various artistic and technical means and methods.
Gatherings
(2018)
author(s): Annelies, Alice De Smet
published in: Research Catalogue
‘Gatherings’ are the second level of operation of the doctoral study ‘Architecting Bodies by Immersive Gestures’. The first level of operation is called ‘responsive walking’ and is of direct embodied immersion of the author/learner’s bodymind while looking for the mess in urban environments and adopting a micro-perspective by means of walking and embodied creation. The second level departs from the assumption that embodied immersions in mess by responsive walking are desettling and urge sense-making. By creating video-assemblages, performance-lectures and conversation pieces processes of embodied sense-making are explored. Thereby, the challenge is to avoid the pitfalls of quick dichotomic, hierarchic and disembodied understandings of bodymindly engaging with the environment. To resist slipping into these categories – that are so readily present when sense-making is discursively elaborated – the notion of ‘pregnantness’ and the notion of a ‘propelling hypothesis’ are proposed. The former is a bodymind state that allows to imaginatively presence not-yet and becoming significances of embodied engagements with environments. The latter is an operative design instrument that allows the responsive shifts in hypothesis to become the very mechanism of a form-giving practice that reflects whimsicalities and contingencies. In order to work towards ‘pregnantness’ and follow the ‘propelling hypothesis’, gatherings interweave autobiographical, fictional and referential voices (i.e. the work of others) through one another. Also different media (i.e. body, drawing, writing, photo, video, sound, animation, modelling), low-tech assembling and analogue-poetic thinking are put into action to bring more sensory, ephemeral, affective and imaginative aspects of bodymindly relating to the environment into account.