Thinking through ‘Voyeur Piano’: Strategies and outcomes for an artistic research project in musical performance

de arte ◽  
2016 ◽  
Vol 51 (1) ◽  
pp. 74-88
Author(s):  
Mareli Stolp
Keyword(s):  
Musical Performance ◽  
Research Project ◽  
Artistic Research

scholarly journals Performing with Plants in the Ob-scene Anthropocene

2020 ◽  
Vol 32 (1) ◽  
pp. 121-142
Author(s):  
Annette Arlander
Keyword(s):  
Performance Analysis ◽  
Performance Art ◽  
Performance Studies ◽  
Research Project ◽  
Performance Practices ◽  
Art Form ◽  
And Performance ◽  
Performance As Research ◽  
Artistic Research

Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.

Walking in a cage: Attuning to atmospheric intensities through corporeality

2021 ◽  
Vol 12 (1) ◽  
pp. 47-66 ◽  
Author(s):  
Kirsi Heimonen
Keyword(s):  
Emmanuel Levinas ◽  
Mental Hospital ◽  
Research Study ◽  
Weather Conditions ◽  
Phenomenological Approach ◽  
Multidisciplinary Research ◽  
Research Project ◽  
Mental Hospitals ◽  
Choreographic Process ◽  
Artistic Research

This article discusses an artistic act: walking for seven sequential days inside a cage made of chicken wire in the grounds of a former mental hospital in Lapinlahti in Helsinki, Finland and its potential to offer insights into past events in mental hospitals through the notions of corporeal attunement and atmosphere. The idea for Walking Cage was prompted by a word in the data, which included memories by patients and non-patients of Finnish mental hospitals gathered in connection with a multidisciplinary research project. Passers-by, occasional co-walkers, weather conditions and the grounds of the former mental hospital partially formed and deformed the atmospheric qualities of the artistic research event. These qualities were experienced through corporeal attuning influenced by the Skinner Releasing Technique, a somatic movement method. The article proposes a singular way of approaching the possibilities of corporeal openness and sensibility in a choreographic process in which, illuminated by, among others, the notions of threshold and limit, one becomes a stranger to oneself by surrendering oneself to atmospheric intensities. This artistic research study adopts a phenomenological approach, drawing mainly on the ideas of Jean-Luc Nancy, Mikel Dufrenne and Emmanuel Levinas.

Muybridge’s Disobedient Horses: Non-stop Stop-motion

2021 ◽  
pp. 185-193
Author(s):  
Anna Vasof
Keyword(s):  
Everyday Life ◽  
Fine Arts ◽  
Research Project ◽  
Multiple Observations ◽  
The Media ◽  
Stop Motion ◽  
Artistic Research ◽  
Video Performance

In this chapter, the media artist Anna Vasof discusses her animation project Non-Stop Stop-Motion, situated at the intersection between video, performance, the fine arts and photography. Non-Stop Stop-Motion is an ongoing practice-based artistic research project, which investigates where we can find the essence of cinematic illusion when we look into everyday life and what happens when we use everyday situations, objects, spaces and actions as cinematographic mechanisms. This question leads to multiple observations of everyday life and experimentation therein.

Studying Sonorous Objects to Develop Frameworks for Improvisation

2017 ◽  
Vol 22 (3) ◽  
pp. 369-377
Author(s):  
Sam Mcauliffe
Keyword(s):  
Case Studies ◽  
Sound Studies ◽  
Musical Performance ◽  
Research Project ◽  
Field Recordings ◽  
Musique Concrete ◽  
The Way ◽  
Performance Strategies

French musique concrète artist Pierre Schaeffer pioneered new ways of listening to and studying sound. His study and manipulation of recorded sounds to create music changed the way contemporary musicians, from a multitude of disciplines, approach making music. Additionally, Schaeffer’s treatise on acousmatic listening to sonorous objects has deeply influenced contemporary sound studies. In this article, I elucidate how musique concrète has informed my practice-led research project,Looking Awry– from which I will discuss two case studies. I outline how acousmatic listening to field recordings from everyday environments informed the development of performance strategies that guide improvised musical performance; a malleable practice that can be applied to a variety of performance settings.

scholarly journals Disclosing and Evaluating Artistic Research

2019 ◽  
Vol 4 (3) ◽  
pp. 35-54 ◽  
Author(s):  
Florian Vanlee ◽  
Walter Ysebaert
Keyword(s):  
Design Research ◽  
Research Output ◽  
Assessment System ◽  
Research Project ◽  
Art And Design ◽  
Assessment Culture ◽  
Traditional Research ◽  
Productive Potential ◽  
International Projects ◽  
Artistic Research

Abstract Purpose This study expands on the results of a stakeholder-driven research project on quality indicators and output assessment of art and design research in Flanders—the Northern, Dutch-speaking region of Belgium. Herein, it emphasizes the value of arts & design output registration as a modality to articulate the disciplinary demarcations of art and design research. Design/methodology/approach The particularity of art and design research in Flanders is first analyzed and compared to international examples. Hereafter, the results of the stakeholder-driven project on the creation of indicators for arts & design research output assessment are discussed. Findings The findings accentuate the importance of allowing an assessment culture to emerge from practitioners themselves, instead of imposing ill-suited methods borrowed from established scientific evaluation models (Biggs & Karlsson, 2011)—notwithstanding the practical difficulties it generates. They point to the potential of stakeholder-driven approaches for artistic research, which benefits from constructing a shared metadiscourse among its practitioners regarding the continuities and discontinuities between “artistic” and “traditional” research, and the communal goals and values that guide its knowledge production (Biggs & Karlsson, 2011; Hellström, 2010; Ysebaert & Martens, 2018). Research limitation The central limitation of the study is that it focuses exclusively on the “Architecture & Design” panel of the project, and does not account for intra-disciplinary complexities in output assessment. Practical implications The goal of the research project is to create a robust assessment system for arts & design research in Flanders, which may later guide similar international projects. Originality/value This study is currently the only one to consider the productive potential of (collaborative) PRFSs for artistic research.

THE MICROTONAL PIANO AND THE TUNED-IN INTERPRETER

Tempo ◽  
2019 ◽  
Vol 74 (291) ◽  
pp. 77-84
Author(s):  
Sanae Yoshida
Keyword(s):  
The Other ◽  
Research Project ◽  
Artistic Research

AbstractThis article forms part of ‘The Microtonal Piano – and the tuned-in interpreter’, an ongoing artistic research project at the Norwegian Academy of Music that seeks to demonstrate how microtonality can increase the expressive possibilities of the acoustic piano. Many different modes of playing can result in microtonal sounds, and this article presents a preliminary overview of these possibilities. For the project, new works have been commissioned from several composers, and different aspects of microtonal modes of playing are integrated into these works. Multiphonics is obviously one of these modes of playing, as it most often results in microtonality. At the end of the article, different ways that multiphonics can be modified when used in combination with some of the other microtonal modes of playing are suggested.

Aesthetics, Interaction and Machine Improvisation

2020 ◽  
Vol 25 (1) ◽  
pp. 33-40
Author(s):  
Henrik Frisk
Keyword(s):  
Cognitive Skills ◽  
Autonomous System ◽  
Research Project ◽  
Musical Improvisation ◽  
The One ◽  
Machine Improvisation ◽  
Artistic Research

Departing from the artistic research project Goodbye Intuition (GI) hosted by the Norwegian Academy of Music in Oslo, this article discusses the aesthetics of improvising with machines. Playing with a system such as the one described in this article, with limited intelligence and no real cognitive skills, will obviously reveal the weaknesses of the system, but it will also convey part of the preconditions and aesthetic frameworks that the human improviser brings to the table. If we want the autonomous system to have the same kind of freedom we commonly value in human players’ improvisational practice, are we prepared to accept that it may develop in a direction that departs from our original aesthetical ambitions? The analyses is based on some of the documented interplay between the musicians in a group in workshops and laboratories. The question of what constitutes an ethical relationship in this kind of improvisation is briefly discussed. The aspect of embodiment emerges as a central obstacle in the development of musical improvisation with machines.

Goodbye Intuition (2017 - 2020) is an artistic research project on improvisation. With Goodbye Intuition we seek to challenge our roles and artistic preferences as improvising musicians by improvising with "creative" machines. In our project the machines can both take the role of a performer for us to play with and they can be extensions of our own instruments. They can become both our duet partners and they can be additions, expansions or augmentations of our sound. Playing is core in our investigation, and it is based on this experience we try to articulate thoughts and answers to the following questions: - How do we improvise with "creative" machines, how do we listen, how do we play? - How will improvising within an interactive human-machine domain challenge our roles as improvisers? - What music emerge from the human-machine improvisatory dialogue? The project’s artists are Andrea Neumann (GER), Morten Qvenild (NOR) and Ivar Grydeland (NOR). The artist Sidsel Endresen (NOR) is our observer, commentator, critic and discussion partner. Additionally, musician, composer and researcher Henrik Frisk (SWE), writer, musician, composer David Toop (UK), musician and researcher Anna Lindal (S), musician Lasse Marhaug (N), Christian Wallumrød Ensemble (N), and director and writer Annie Dorsen (US) contributes to the project. Humans at Norwegian Center for Technology in Music and the Arts (NOTAM) are our technological collaborators.

2020 ◽  
Author(s):  
◽  
Ivar Grydeland ◽  
Morten Qvenild ◽  
Andrea Neumann ◽  
Sidsel Endresen
Keyword(s):  
Research Project ◽  
The Arts ◽  
Music And The Arts ◽  
Artistic Research

Goodbye Intuition (2017 - 2020) is an artistic research project on improvisation. With Goodbye Intuition we seek to challenge our roles and artistic preferences as improvising musicians by improvising with "creative" machines. In our project the machines can both take the role of a performer for us to play with and they can be extensions of our own instruments. They can become both our duet partners and they can be additions, expansions or augmentations of our sound. Playing is core in our investigation, and it is based on this experience we try to articulate thoughts and answers to the following questions: - How do we improvise with "creative" machines, how do we listen, how do we play? - How will improvising within an interactive human-machine domain challenge our roles as improvisers? - What music emerge from the human-machine improvisatory dialogue? The project’s artists are Andrea Neumann (GER), Morten Qvenild (NOR) and Ivar Grydeland (NOR). The artist Sidsel Endresen (NOR) is our observer, commentator, critic and discussion partner. Additionally, musician, composer and researcher Henrik Frisk (SWE), writer, musician, composer David Toop (UK), musician and researcher Anna Lindal (S), musician Lasse Marhaug (N), Christian Wallumrød Ensemble (N), and director and writer Annie Dorsen (US) contributes to the project. Humans at Norwegian Center for Technology in Music and the Arts (NOTAM) are our technological collaborators.

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