Depuis le début de ma maîtrise, je réalise des explorations à partir de matériaux imprimés d’archive, datant d’une autre époque, dans le but de signifier et créer des dialogues entre la couleur, le temps et la mémoire.
Transformer l'image imprimée par la peinture, créer un dialogue entre l'image photographique et le motif, c'est tenter d'évoquer les parts de récits que la mémoire peut conserver et celles que, nécessairement, elle oublie. Cet oubli n'est pas l'effacement d'un savoir, mais la transformation du récit, afin d'accéder à l'histoire par les vestiges des événements.
Visualising taboos and societal issues.
For the last 5 years we've been investigating the possibilities to inform and communicate several societal issues and taboos such as loneliness, mental issues related problems and failure.
S.O.D. has been working with students, graphic designers and teachers in Russia, England, France, Norway, Finland and South Korea to investigate these problems within an international framework.
S.O.D.’s primary goal is to communicate. Based on the fact that graphic design is one of the best tools available to do so, I am constantly reminding our members to develop their ideas and to design in order to reach our goal, not to win awards. Graphic design is not a sport, but a set of tools and skills that allow us to do a specific work to solve a specific problem.
This approach is in line with the general understanding of design and its difference from art: in the Design: Creation of Artifacts in Society, it is understood as an activity where a gap is first defined and a solution is proposed, prototyped and developed. In the case of S.O.D the gap is a lack of attention to the problems of societal issues and taboos, and the design process focuses on developing solutions that could affect these issues in a positive way.
Our work can be seen as a non commercial use of Graphic Design, tending to communicate based on emotional responses from the audience instead of consumer's needs.
These projects have been a stepping-stone towards future investigations of societal or cultural themes may be put under a new light by using the means of S.O.D. By exposing societal issues as something different than an individualized fiasco. Perhaps S.O.D will make a small, but significant gesture of emancipation to those who feel the need to share their thoughts and make a change.
I am an artist researcher undertaking a Ph.D. by Published, Established, and Creative Works at Nottingham Trent University, entitled ‘Soundwalking in Contested Space’.
Soundwalking is an expanding creative discipline with its origins in situationist practices and soundscape studies. Alongside numerous fellow artists and researchers, I am exploring the far-reaching possibilities of the medium. In my thesis, informed by over two decades of leading art walks and composing soundwalks, I interrogate my own soundwalking practice, that I use as a means of investigating contested space. I consider findings from six of my soundwalks composed between 2013 and 2018 and guide the reader through my process and the methods of aleatoric composition, temporal shift, synchrony, and ordeal that, in combination, distinguish my soundwalks.
Alongside writers and theorists such as Tim Edensor, Brandon LaBelle, and Frauke Behrendt, social geographer Doreen Massey provides a firm theoretical foundation through her conception of space as ‘the product of interrelations’ and imaginable as ‘a simultaneity of stories so far’ (Massey, 2005, p. 9). While Massey adopts a generally progressive tone in her articulation of space, in recognition of the human potential that can be realised through spatial encounters, I place emphasis upon its contested nature, as a product of the unequal power relations that arise out of the everyday interactions of human beings.
My contribution to knowledge is both thematic and methodological, through my core concern of human-contested space, the specific combination of methods that I apply within my practice as research, and in the ways these methods encourage deeper appreciation and understanding. My research journey traces a path through contested urban and rural space and exposes the lived realities of human experience when utopian or hubristic visions falter or fail. My findings are directed towards researchers investigating contested space, be it from artistic, social-historical, or environmental perspectives.
This exposition is part of Tomas Löndahl's doctoral dissertation "The Changeability of Sounding Reality: Towards an Expanded Space for Interpretation" and consists of two series of experiments with works by the Swedish composer Ludvig Norman (1831–1885).
An overview on musical-gestural artistic researcher identity and perspective through understanding the role of the artistic body through the exploration of various theories which clarify the performer’s physical presence, embodied interdisciplinary possibilities and collaborative processes.
The text discusses one of the different ways in which prepared instruments come to us: the form of an apparatus. Following the distinction proposed by the Merriam-Webster Dictionary (and by most other dictionaries analyzed), I will discuss the behavior of the instrument as an apparatus: 1. as a system or net; 2. in the Foucauldian sense, as a functional system of knowledge and power relations.