Research Catalogue

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  they didn't bring enough water (2019) author(s): William Smart, Lindsey french published in: Research Catalogue
  In early 2016, Lindsey french and Willy Smart gleaned water samples during a series of anomalous rainstorms in the Southern Californian desert. Later, these samples were ‘released’ publicly via personal humidifiers. Combining photographic documentation of humidity, the affected certainty of diagrams, and an associative written text that slips between theoretical and personal registers, the research exposition, “they didn’t bring enough water,” catalogs this process of reception and release. The project floats on our attempt to follow a logic of water in our research — from the start then there is no pretense toward rigid methodology. We collected samples erratically, in line as much with our moods as with the sites we’d marked out in advance of the trip as potential intrigues. In other words, the bonds we seek out here aren’t those of solidarity, but liquidarity. Water is not then the tested object of our actions, but rather an active agent in our research. Crucially, the release was staged publically: the humidifiers fogged up the windows, our breaths mixed. Release here is meant in the sense of a record release — of circulation — rather than in the sense of a caged animal set free. The materials collected in this research exposition include photographs of each water sample at the moment of its release, diagrams of forms taken by the released water vapor, and a written text. The text folds (but does not tie — liquidarity reigns here too) historic information on sample sites with personal associations and theoretical conversations initiated during the days of collection: during long drives, before sleep, and at the sites themselves. The text thus is loose — it slips between pronouns and landscapes and concepts — there’s not quite enough present perhaps for total coherence, like the sign we encountered at a trailhead at the beginning of the research trip — “THEY DIDN’T BRING ENOUGH WATER.” This apparent warning, with its seductive vagueness, would crystallize in the following days into an aphoristic methodology that is carried over into the presentation of materials here. What we didn’t bring perhaps we (perhaps you) will find here.
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  Digital Anarchive: Being in Contact - Encountering a Bare Body (2019) author(s): Mariella Greil-Moebius published in: Research Catalogue
  This digital anarchive was developed in reference to my doctoral research undertaken at the University of Roehampton, London. This practice-as-research project explores the concept of bare bodies and how to encounter them in contemporary choreography. My thesis draws on philosophical, bio-political and ethical discourse relevant to my discussion of the emergence of bare bodies in choreographic work, and creates a critical framework for a self-reflexive movement. Narrations of bare bodies emerge in both the written component of a choreographed book, and in the creative component consisting of the live event of a lecture performance inhabiting an anarchive. This anarchive operates as research repository created and accumulated in the course of my PhD project and documented here in digital form. Throughout I argue for acknowledging acts of baring and concealing as culturally situated, anchoring my thesis in reflections on performative encounters, unearthing their methodological weight and nanopolitical significance. I explore non-subjective performativity, implying a fluid conception of identity. Furthermore, I introduce the ideations of an-archic responsibility and choreo-ethics for reassessing contact and relation as an ethico-aesthetic project of current choreographic performances. These propositions get probed alongside a shift from spectator to wit(h)ness. I differentiate and untangle the tones and shades of the triplet naked, nude, and bare, each term referring differently to body and performativity. All in all, the choreographic is conceptualised as a complex field of revelatory experiences built on ecologies of aesthetic perception and realising ethico-political agency.
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  Momentum: experiential development in sound composition (2019) author(s): Nat Grant published in: Research Catalogue
  Momentum is an online, cumulative sound art and composition project, created and curated by Nat Grant over the course of 2012-19.
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  Graduation Piece (2019) author(s): Mariana Nobre Vieira published in: Research Catalogue
  MA SODA 401 Workbook
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• URBAN FOREST: a 360 movie experience (2019) author(s): Maja Maletkovic published in: Research Catalogue
  observations on two types of research conducted and where to draw the line between them
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  Ng revisited (2018) author(s): Johan Jutterström published in: Research Catalogue
  The point of departure for my artistic research project is the piece Ng, composed by me in 2014 for an ensemble of three musicians without instruments and three dancers. Having reached a critical point in my own practice as a saxophonist where the identity of my music and that of the instrument seemed too intricately intertwined and convoluted, I happened to attend a dance rehearsal where the choreography was rehearsed without accompanying music. I listened to the rehearsal with my eyes closed, activated the situation musically and suddenly found myself in a soundscape that was full of musical possibilities seemingly free of much of the problems with western music that the saxophone represented for me. Possibilities that I tried to make sense out of when composing Ng. Approaching an interdisciplinary perspective towards choreography and dance, the movement of the human body became the music material. The sounds that appeared did not originate from an instrument built with the purpose of projecting a certain sound on to the world; they were of this world and in that sense concrete. But they were also of human anatomy and in that sense, I believed, more malleable than other concrete sounds and already in a close relationship to human perception and understanding. I hoped that, by abandoning the music instrument and approaching a choreographic perspective, I would contribute to the theories and practices of western art music while also challenging conventions that I felt was weighing it down—just as the saxophone weighed around my neck. During my artistic research project I intend to challenge Ng and investigate the concepts behind it more thoroughly before finally revisiting and reworking it with the knowledge gained during the research project. Does a choreographic approach offer a substantial addition to western art music theory and practice? Can such a premise challenge how music notation is approached and help expanding how music structure is thought of beyond how it is communicated through notation? Can it change time measuring mechanisms of music and advance the way space is approached? The disposition of my research project is such that I can criticize the ideas of Ng in retrospect, while still actively working on refining them both in practice and theory through Ng revisited. In juxtaposing Ng and Ng revisited I hope that my research questions, my methods, the context of my research and whatever new knowledge my research project can offer will become clear while simultaneously activated by, and contained in, my own artistic practice. As such coalescing concept, form, theory, material and presentation; something that I believe is an important ambition of artistic research.
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