{"status":"ok","message-type":"work-list","message-version":"1.0.0","message":{"facets":{},"total-results":2700,"items":[{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407210,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0057","type":"journal-article","created":{"date-parts":[[2022,10,27]],"date-time":"2022-10-27T11:23:58Z","timestamp":1666869838000},"source":"Crossref","is-referenced-by-count":0,"title":["Deep Nice - Mathilde Roman\u2019s Swimming with Laure Prouvost (Nager avec Laure Prouvost)"],"prefix":"10.22501","author":[{"given":"Kate","family":"Mondloch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2022,10,28]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:23Z","timestamp":1742292203000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/deep-nice-mathilde-romans-swimming-laure-prouvost-nager-avec-laure-prouvost"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0057","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407501,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0015","type":"journal-article","created":{"date-parts":[[2019,1,18]],"date-time":"2019-01-18T23:29:51Z","timestamp":1547854191000},"source":"Crossref","is-referenced-by-count":0,"title":["Artistic Research in the Global East: A Book with (Pro)Positions from Lithuania"],"prefix":"10.22501","author":[{"given":"Vytautas","family":"Michelkevi\u010dius","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2018]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:53Z","timestamp":1742292173000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/artistic-research-global-east-book-propositions-lithuania"}},"issued":{"date-parts":[[2018]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0015","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2018]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:14Z","timestamp":1727238614582},"posted":{"date-parts":[[2023,9,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This project explores the potential futures of wool. Despite being a significant craft material, wool has become a byproduct of sheep and lamb industry in most areas. In many places, fleece and wool use is in decline. Consistent with the global trend, wool production has also declined in the US since the 1940s . When wool is used in textile industries, merino wool from Australia and New Zealand often dominates the scene, thus contributing to the decline in local wool. As a result, large amounts of wool, a material with great qualities, becomes unwanted product and is discarded as a waste. \n\nA project about and with wool can bring new possibilities for the future of wool for producers and craftspeople. In this project, I will research wool's current situation around Asheville by visiting some farms and discussing with craftspeople. This research will draw on the current situation and start contextualizing how wool might be studied.<\/jats:p>","DOI":"10.22501\/rc.2197668","type":"posted-content","created":{"date-parts":[[2023,9,18]],"date-time":"2023-09-18T12:57:46Z","timestamp":1695041866000},"source":"Crossref","is-referenced-by-count":0,"title":["In Search of Wool(s)"],"prefix":"10.22501","author":[{"family":"Bilge Merve Akta\u015f","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:31Z","timestamp":1727192551000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2197668\/2197669"}},"issued":{"date-parts":[[2023,9,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2197668","published":{"date-parts":[[2023,9,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:17Z","timestamp":1727238617490},"posted":{"date-parts":[[2022,3,29]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"'quiet citadel' is a site-specific, participatory music project that examines music-making and the purposes that music can serve. I made 'quiet citadel' as part of the Hinge Arts Residency with Springboard for the Arts. They describe the fellowship as a community development program that activates arts programming related to the historic Fergus Falls State Hospital, or \"the Kirkbride.\" \n\nPresented in four sections, this exposition offers a case study of how I instrumentalized my music-making and music-sharing to assist the residents of Fergus Falls, a small town in rural Minnesota, in determining what to do with the disused Fergus Falls State Hospital, or \"the Kirkbride.\" All told, this exposition provides an example of using music as a research method for the purposes of collectively imagining the future of a community asset.<\/jats:p>","DOI":"10.22501\/rc.1472161","type":"posted-content","created":{"date-parts":[[2022,3,29]],"date-time":"2022-03-29T13:50:27Z","timestamp":1648561827000},"source":"Crossref","is-referenced-by-count":0,"title":["quiet citadel"],"prefix":"10.22501","author":[{"family":"Ryan Evans","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:46Z","timestamp":1727192686000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1472161\/1472162"}},"issued":{"date-parts":[[2022,3,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1472161","published":{"date-parts":[[2022,3,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:20Z","timestamp":1727238620171},"posted":{"date-parts":[[2024,1,27]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Drawing from Blast Theory and Bourriaud's concept of Relation Aesthetics, this practice-as-research project analyses the relationship between choreography, ChatGPT, and audience interaction, using both qualitative and quantitative approaches. The aim of the project is to understand how ChatGPT can be used as a tool for generating choreographies.\nTo answer this question, I conducted two workshops with six participants, after which I obtained four dance sequences. Participants agreed that ChatGPT contributed to a unique and dynamic experience by creating new and innovative movements. When asked about challenging traditional notions of choreographic authorship, there was a split, with some participants expressing uncertainty.<\/jats:p>","DOI":"10.22501\/rc.2461699","type":"posted-content","created":{"date-parts":[[2024,1,27]],"date-time":"2024-01-27T14:33:34Z","timestamp":1706366014000},"source":"Crossref","is-referenced-by-count":0,"title":["ChatGPT and The Art of Dance-Making"],"prefix":"10.22501","author":[{"family":"Chiara Bellich","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:45Z","timestamp":1727192505000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2461699\/2461700"}},"issued":{"date-parts":[[2024,1,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2461699","published":{"date-parts":[[2024,1,27]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:18Z","timestamp":1727238618564},"posted":{"date-parts":[[2022,4,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Le projet s\u2019intitule Remuer les cendres et je propose une r\u00e9flexion sur les corps non r\u00e9clam\u00e9s des personnes d\u00e9c\u00e9d\u00e9es \u00e0 Montr\u00e9al. Dans mes recherches, je m\u2019int\u00e9resse aux histoires individuelles et collectives que j'aborde \u00e0 travers la photographie et le t\u00e9moignage. Plus pr\u00e9cis\u00e9ment, je suis pr\u00e9occup\u00e9 par le th\u00e8me de la mort. C'est-\u00e0-dire que je la trouve myst\u00e9rieuse, silencieuse et elle vient bousculer nos vies sans avertir dans nos familles. Elle vient chambarder nos \u00e9motions et nos angoisses. Elle se d\u00e9place pour nous renseigner que l'\u00e9ternit\u00e9 n'existe pas, et elle nous invite \u00e0 vivre le n\u00e9ant, qui nous attend, une fois que la mort se pr\u00e9sente.<\/jats:p>","DOI":"10.22501\/rc.1560070","type":"posted-content","created":{"date-parts":[[2022,4,13]],"date-time":"2022-04-13T00:37:33Z","timestamp":1649810253000},"source":"Crossref","is-referenced-by-count":0,"title":["Remuer les cendres"],"prefix":"10.22501","author":[{"family":"Benoit","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:40Z","timestamp":1727192680000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1560070\/1560071"}},"issued":{"date-parts":[[2022,4,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1560070","published":{"date-parts":[[2022,4,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:22Z","timestamp":1727238622894},"posted":{"date-parts":[[2021,12,7]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Instructional video on how the Penta-Puzzle can help people combat mental illnesses by helping keep the mind active<\/jats:p>","DOI":"10.22501\/rc.1407501","type":"posted-content","created":{"date-parts":[[2021,12,7]],"date-time":"2021-12-07T10:28:10Z","timestamp":1638872890000},"source":"Crossref","is-referenced-by-count":0,"title":["Preventing mental illnesses by regular mental exercise"],"prefix":"10.22501","author":[{"family":"Henning Kristoffer Borgen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:13Z","timestamp":1727192713000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1407501\/1407500"}},"issued":{"date-parts":[[2021,12,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1407501","published":{"date-parts":[[2021,12,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:24Z","timestamp":1727238624775},"posted":{"date-parts":[[2015,12,10]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research started with the challenges of the contemporary scenography; How to react and participate in the fluctuating performances of today? The immaterial starting point has turned into a rhythmic spatiality, where the rhythm meets visual compositions, movements, sound and other intangible elements of the performative space. After joining to the TAhTO program, my study started to move even more towards interartistic aspects where the performing art meets installation art and the participatory performance meets music and sound art. Among the important aspects today, has proved to be the process of sharing and making the spatial experience and design process more comprehensive and visible through communicative practice.<\/jats:p>","DOI":"10.22501\/rc.232202","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:42Z","timestamp":1498067622000},"source":"Crossref","is-referenced-by-count":0,"title":["SPATIAL RHYTHMS Scenographic movements in the intersection of the installation and performing arts."],"prefix":"10.22501","author":[{"family":"Elina Lifl\u00e4nder","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:01Z","timestamp":1727193001000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/232202\/232203"}},"issued":{"date-parts":[[2015,12,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.232202","published":{"date-parts":[[2015,12,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:26Z","timestamp":1727238626104},"posted":{"date-parts":[[2012,12,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This paper presents the findings of new research undertaken amongst contemporary printmaking practitioners to determine markers of transition between traditional and new forms of printmaking, framed by conception of \u201cBorn Digital \u2013 New Materialities\u201d - where a print object is conceived and\/or created wholly in digital form (The-Library-of-Congress, 2010) whereby artists, utilising digital technologies, demand new conceptions, forms and aesthetics \u2013 \u201ctowards a new printmaking materiality\u201d.\nThe research was undertaken through social network platforms to coordinate the collation and curation of a digitally mediated international exchange survey of contemporary \u201cprint\u201d developed through digital mediation for digital exhibition, publication and editioning. \nThe research examines notions of \u201cnew materiality\u201d, set against new concepts of electronic consumption for the second generation of printmaking formed by \u201c a multiply produced object made with a new type of template\u201d [Kushner 2009] or printmaking 2.0, driven by burgeoning demand[s] for electronic distribution of digitally mediated prints.<\/jats:p>","DOI":"10.22501\/rc.31555","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:41Z","timestamp":1498067741000},"source":"Crossref","is-referenced-by-count":0,"title":["\u201cBorn Digital \u2013 New Materialities\u201d."],"prefix":"10.22501","author":[{"family":"Paul Thompson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:45Z","timestamp":1727193045000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/31555\/31556"}},"issued":{"date-parts":[[2012,12,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.31555","published":{"date-parts":[[2012,12,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:32Z","timestamp":1727238632124},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,7,25]]},"abstract":"This artistic research investigates the transcription process in improvisational musical landscapes. Particularly the transcription process of speeches and speech patterns for the main purpose of developing and furthering jazz language to communicate more effectively as a communicator-improviser.\n\nThis research asks the question, how can musicians build improvisational musical language through the study of speech?\n\nEffective methods of transcribing practice with the goal of developing the musical ear are developed during this research. These are demonstrated with analysis, harmonisation, survey, additional experiments and a set of improvisations and compositions. A systematic approach to improvisation in a spoken style will be shaped and consequently, the \u2018voice on the piano\u2019 will be found. These outcomes will be presented with the aspiration to venture toward melodic and harmonic possibilities of functional harmony not yet established in improvisational vocabulary.<\/jats:p>","DOI":"10.22501\/koncon.393791","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:43:03Z","timestamp":1725921783000},"source":"Crossref","is-referenced-by-count":0,"title":["The Improvisational Ear-How to build improvisational language through the study of speech"],"prefix":"10.22501","author":[{"family":"Hue Blanes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:14Z","timestamp":1727193434000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/393791\/588232"}},"issued":{"date-parts":[[2019,7,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.393791","published":{"date-parts":[[2019,7,25]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:32Z","timestamp":1727238632706},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,12,29]]},"abstract":"The key interlocutor for this project is Gorilla Park, an irregular shaped parcel of land located on a disused railway track, in a Montreal neighbourhood called Marconi-Alexandria, currently a rapidly gentrifying quarter of the city. The uneven development in this part of the city is, in part, due to the increasing presence of Big Data and Smart City start-up companies.\n\nThe politics of the smart city discourse are deeply entangled with ideas of the \u2018right to the city,\u2019 and brings into question: who is the smart city for? What is a smart city? Current trends towards connectivity and mediated urban environments are generally predicated upon a \u2018digital agenda,\u2019 wherein the privileged position of smart and intelligent technologies is being furthered. In this exposition one of our aims is to problematize urban sites of surveillance through performative and sonic experiments. \n\nDue to the global pandemic, however, we began to collaborate remotely and work with the documentation of our temporary occupation and in-situ exploration of Gorilla Park. As such, this exposition foregrounds an unfolding and iterative approach to artistic research that focuses on performative methods of urban research taking place in contested city sites; foregrounding the experimental use of bespoke sound devices and 360\u02da video recordings, to situated methods such as walking, and hacking Google Earth imagery.<\/jats:p>","DOI":"10.22501\/jar.1112127","type":"journal-article","created":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T11:14:29Z","timestamp":1672312469000},"source":"Crossref","is-referenced-by-count":0,"title":["A Performative Response to Sites of Surveillance: The Gorilla Park Project"],"prefix":"10.22501","author":[{"family":"Shauna Janssen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Katrina Jurjans","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"christian scott","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Eduardo Perez Infante","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:40Z","timestamp":1727193100000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1112127\/1501002"}},"issued":{"date-parts":[[2022,12,29]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jar.1112127","published":{"date-parts":[[2022,12,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:33Z","timestamp":1727238633492},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,7,14]]},"abstract":"Name: Daniel Salbert\nMain subject: Theory of Music\nResearch coach: L\u00e1szl\u00f3 Norbert Nemes\nTitle of research: Collecting Repertoire for a Kod\u00e1ly-inspired Music Curriculum\n\nResearch question: Is it possible to gather Relevant Repertoire for Dutch Elementary Schools to build a Kod\u00e1ly-inspired Music Curriculum?\n\nAbstract\nSix years ago, I visited a Kod\u00e1ly-course in Manchester, UK. This was the initial experience that changed my whole teaching and also my view on Music Education in general. After several study tours to Hungary I was convinced that it would be possible to develop a Kod\u00e1ly-inspired Music curriculum for Dutch elementary schools. Musical skills should and can be taught to anyone, beginning already in elementary school and not only at conservatoire level. As Kod\u00e1ly puts it: \u201cLet music belong to everyone\u201d.\n\nSinging musical repertoire is the fundament of all Kod\u00e1ly-inspired music teaching. So I began collecting relevant repertoire for Kod\u00e1ly-inspired music lessons in Dutch elementary schools: songs, rhymes, singing games, (folk) dances, canons, quodlibets, etc.\n\nTo answer the research question I have collected many Dutch and International song books for elementary school from past to present and went through them for closer musical analysis. Besides, I researched song material at the Meertens Institute Amsterdam, organized a (folk) dancing workshop for elementary school teachers and went on study tours to Budapest and Glasgow. And of course I took notice of the repertoire that my fellow Kod\u00e1ly-colleagues at the Royal Conservatoire (KC) used. Searching and collecting repertoire became an attitude. \n\nBut searching repertoire is not a theoretical business. Therefore, in the last two years I was testing repertoire in some of my classes: 1) Jong-KC-junior-students of the Royal Conservatoire at the age of 7-9 years; these children were following a special talent education. 2) \u2018Normal\u2019 children of the age of 6-8 years at a local Dutch elementary school. \n\nTo gather the repertoire I built a database in File Maker Pro. I analysed the repertoire concerning musical parameters that are relevant to build a curriculum for Music education. The advantage of such a database is the fact that it is searchable. So when building a curriculum, repertoire can be grouped and sequenced according to the musical learning goals that are aimed at. Also staff notation, a game description and a demonstration video are provided. In the future I would like to transform this into an online database that could serve as a repertoire source for any Music teacher.\nAfter two years of research I can positively answer the research question. The next step would be to sequence the repertoire for the benefit of a step-by-step curriculum for the full eight years of Dutch elementary school education. Then Music at Dutch elementary schools might again become a subject that matters.\n\nBiography\nDaniel Salbert (Nuremberg, Germany 1971), studied Music Teaching (BA 1999), Choral Conducting (BA 2001) and Music Theory (BA 2009) at the Royal Conservatoire of The Hague (KC). He conducted different choirs such as children, chamber and oratorio choirs. At the moment he conducts the Young Talent Choirs and the First Year\u2019s Choir of the KC and Concertkoor Rijswijk. He teaches Musicianship and Solfege for the Singing Department of the KC. He also teaches Solfege and Kod\u00e1ly-methodology for the Saturday-course \u201cMusic as a Subject\u201d and the Master \u201cMusic Education according to the Kod\u00e1ly-concept\u201d. He also teaches Musicianship and Music Theory at the School for Young Talent of the KC.<\/jats:p>","DOI":"10.22501\/koncon.154479","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:48:28Z","timestamp":1725922108000},"source":"Crossref","is-referenced-by-count":0,"title":["Collecting Repertoire for Kod\u00e1ly-inspired Music Lessons in Dutch Elementary Schools"],"prefix":"10.22501","author":[{"family":"Daniel Salbert","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:23Z","timestamp":1727193503000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/154479\/155691"}},"issued":{"date-parts":[[2015,7,14]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/koncon.154479","published":{"date-parts":[[2015,7,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:36Z","timestamp":1727238636520},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2023,11,9]]},"abstract":"This research paper focuses on three different gardens located far away from one another. The common nominator of these gardens is to bring the community together for sharing vegetables, herbs, and discussions. Two of them are united by a new innovation, combination of sand and water in lieu of traditional soil. These are the Sahrawi sandoponic garden in the refugee camps in southwestern Algeria and a Helsinki Sandoponic Garden in Helsinki Biennial 2023. The Helsinki Sandoponic Garden is a project by an artistic research group called PHOSfate formed by Pekka Niskanen and Mohamed Sleiman Labat in 2018. Our PHOSfate garden emphasizes the injustices the Sahrawi population and the Baltic Sea have faced. Becoming a refugee is the utmost injustice that can happen to an individual. Eutrophication is causing a trauma for the Baltic Sea and for the inhabitants living on its shores. Sahrawis are refugees because of phosphate mining, and phosphate fertilizers are the reason for the eutrophication in the Baltic Sea. Coping with the trauma and healing from it is an aspect shared by the community garden in Paris and the Helsinki PHOSfate Garden. The community garden of Jardin Truillot in Paris was created after the Bataclan terrorist attack 2015 to help those living near the theater to heal from trauma. When focusing on the importance of gardens, I will engage with some of the discourses around environmental justice and ecological justice. In my text, I will show that the recognition of injustice is the central activism in these three gardens and in my garden practices.<\/jats:p>","DOI":"10.22501\/ruu.1937993","type":"journal-article","created":{"date-parts":[[2023,11,9]],"date-time":"2023-11-09T13:04:38Z","timestamp":1699535078000},"source":"Crossref","is-referenced-by-count":0,"title":["Three gardens as places of performative resistance and resilience"],"prefix":"10.22501","author":[{"family":"Pekka Ilmari Niskanen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:08Z","timestamp":1727193548000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1937993\/2249836"}},"issued":{"date-parts":[[2023,11,9]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1937993","published":{"date-parts":[[2023,11,9]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:37Z","timestamp":1727238637388},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"This exposition is an orna\/mentor\u2019s doing, an attempt, an essay, a performance, a line-of-thinking, a series of relations, a performance-research-model, a beginning of an orna\/mentor\u2019s manifesto. It might appear chaotic for some, and inviting for others. Its aim is to allow for the visitor to dive into the \u2018orna\u2019 (as in \u2018urn\u2019 meaning: an ornamented vase) mentored by a vocal performer. The exposition performs the raw and asymmetric intimacy of a research process searching to penetrate into (while at the same time radically opening up) that-which-is-yet-to-be-known. The performative caring has created an endless amount of philosophizing figures\/sounds-in-themselves, as ornamented variations of an original musical score; a translation of one doing of another doing of another doing. Included in this exposition - as yet another ornamented variation \u2013 is a \u2018peer-review-dialogue\u2019 (a Q & A) between the orna\/mentor and a Chorus of Unknown Reviewers. This dialogue has been included to clarify (or perhaps confuse even more) some of the questions that might arise in the mind of the visitor while moving through the exposition.<\/jats:p>","DOI":"10.22501\/ruu.402061","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T11:35:40Z","timestamp":1558611340000},"source":"Crossref","is-referenced-by-count":0,"title":["A Singing Orna\/Mentor's Performance or Ir\/rational Practice"],"prefix":"10.22501","author":[{"family":"Elisabeth Laasonen Belgrano","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:11Z","timestamp":1727193731000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/402061\/402062"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.402061","published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:39Z","timestamp":1727238639732},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,14]]},"abstract":"Name: Pieter van Loenen\n\nMain Subject: Violin\n\nResearch supervisor: Stefan Petrovic\n\nTitle of Research: Performing modern music\n\nResearch Question: How should you go about performing modern music?\n\nSummary of results:\nIn this paper, I have approached the fundamental question of how to go about performing modern music from different perspectives. Looking at the writings of Stravinsky and Schoenberg teaches us that there are different ideas about the role a performer should have. Stravinsky would ideally have a performer execute music and not \u2018interpret\u2019 it, while Schoenberg expects more expressive input from the performer. However, we have also seen that Stravinsky\u2019s allergy against \u2018interpretation\u2019 probably stems from bad experiences with performers interpreting his music the wrong way. Present-day performers agree that his music \u2013 or any music, for that matter: the same principles apply to music of all ages \u2013 does need to be interpreted by the performer, but in the correct style.\n\nInterpretation of a score is not an exact science. However, that does not mean it cannot go wrong. The prime directive of interpretation is that it should not go against the literal text of the score. Since notation is almost never complete, other methods of interpretation can be used to fill in the gaps. When textual interpretation does not provide enough information, the performer can resort to contextual interpretation: the context of the piece (e.g. sung text, or a structural analysis) or the context of the composer\u2019s work in general, i.e. his style, or language. Other methods that can be used in connection with these basic types of interpretation include speaking with the composer or listening to recordings of the composer or with the composer\u2019s approval. This last method can be problematic, since more information is always required on the value a particular recording should have: is this exactly what the composer intended or is it just acceptable to the composer within the boundaries they set?\n\nAll performers I spoke with agreed that the final step a performer should take is to make the music their own. This may seem in contradiction with the principle that a performer should always aim to reproduce the composer\u2019s wishes; a principle that we perhaps inherited from Stravinsky. However, it makes sense when you think about it. When performing a piece, you automatically interpret the score using whatever methods are appropriate when you decide for yourself what the composer must have had in mind when he wrote it down. When you have uncovered this interpretation, and have learned the language of the composer, you must then speak this language to convey the composer\u2019s story (as you interpret it) to the audience. That last line of communication is something entirely in the hands of the performer and that automatically \u201cimplicates the performer\u2019s personality\u201d, as Reinbert de Leeuw puts it. This is not problematic or contradictory, as long as the performer, when speaking the language, always remains faithful to the will of the composer.\n\nBiography:\nPieter van Loenen is a Dutch violinist who graduated his bachelor\u2019s cum laude at the Royal Conservatoire in The Hague as a student of Vera Beths. He won 1st prize at the Prinses Christina Competition in 2010 and was awarded 2nd prize and the Audience prize at the Dutch National Violin Competition in 2016. He has appeared as a soloist with several orchestras throughout the Netherlands, including the Rotterdam Philharmonic Orchestra, Domestica Rotterdam and the Youth Orchestra of the Netherlands. He has a special affinity with performing contemporary music.<\/jats:p>","DOI":"10.22501\/koncon.129899","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:47:53Z","timestamp":1725922073000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing modern music"],"prefix":"10.22501","author":[{"family":"Pieter van Loenen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:17Z","timestamp":1727193497000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/129899\/129900"}},"issued":{"date-parts":[[2016,6,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.129899","published":{"date-parts":[[2016,6,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:46Z","timestamp":1727238646961},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2024,6,25]]},"abstract":"An artistic research project exploring the art of live remixing through the lens of the music philosophical framework \"The Remixician's Triaxis\". The project resulted in live studio recordings with multi-camera video of my duo with Alessandra Bossa - Before Without.<\/jats:p>","DOI":"10.22501\/uia.2407748","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:05Z","timestamp":1727194085000},"source":"Crossref","is-referenced-by-count":0,"title":["The Remixician and the Triaxis"],"prefix":"10.22501","author":[{"family":"Kristian Isachsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:06Z","timestamp":1727194086000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2407748\/2408344"}},"issued":{"date-parts":[[2024,6,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.2407748","published":{"date-parts":[[2024,6,25]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:47Z","timestamp":1727238647476},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2024,4,2]]},"abstract":"By its very nature, performance is precarious\u2014there is always the chance that everything might fall apart. In an attempt to mitigate the discomfort of this unpredictability, many musicians develop strategies in the hope of holding the reins on the proverbial cart. But what if one chose not to maintain control and instead embraced the wild nature inherent to performance? What kinds of knowledge and aesthetic experiences might emerge in the inevitable moments of collapse? Drawing on her recent research in the project Performing Precarity, an extended collaboration with composer Simon L\u00f8ffler, as well as concepts by Jack Halberstam and Sara Ahmed, percussionist\/performer Jennifer Torrence meditates on the notion of performance as a device for disorientation\u2014that is, performance as an embodied practice of rupture, of getting lost, and of undoing the order of things.<\/jats:p>","DOI":"10.22501\/vis.2191489","type":"journal-article","created":{"date-parts":[[2024,4,2]],"date-time":"2024-04-02T15:01:00Z","timestamp":1712070060000},"source":"Crossref","is-referenced-by-count":0,"title":["Performance as Device for Disorientation"],"prefix":"10.22501","author":[{"family":"Jennifer Torrence","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:38Z","timestamp":1727194118000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2191489\/2191490"}},"issued":{"date-parts":[[2024,4,2]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/vis.2191489","published":{"date-parts":[[2024,4,2]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:47Z","timestamp":1727238647396},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2024,3,13]]},"abstract":"In Performing Precarity we have been working with several composers staging projects that enhance unstable situations on stage. For Berg & H\u00f8eg\u2019s Photostudio I composed the music myself. In this exposition I reflect upon experiences from the process of creating and performing the music in improvisational dialogue with my collaborators in Theater Corpus. \n\nWhat ideas and work methods are available to me in the encounter between puppets, actors, myself and my instrument? How can themes and experiences from the research project Performing Precarity inform the work? \n\nMy reflections deal specifically with the music, despite the fact that the music clearly cannot to be separated from the whole setting. Many thanks for permission use our material in this exposition; Tormod, Aina, Tuva, Ragni and Daniel.<\/jats:p>","DOI":"10.22501\/nmh-ar.2251090","type":"journal-article","created":{"date-parts":[[2024,3,13]],"date-time":"2024-03-13T15:02:38Z","timestamp":1710342158000},"source":"Crossref","is-referenced-by-count":0,"title":["Puppets at the piano (11.08.2023) by Ellen Ugelvik"],"prefix":"10.22501","author":[{"family":"Ellen Kristine Ugelvik","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Io Sivertsen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:20Z","timestamp":1727194100000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2251090\/2251091"}},"issued":{"date-parts":[[2024,3,13]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.2251090","published":{"date-parts":[[2024,3,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:49Z","timestamp":1727238649414},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2023,12,21]]},"abstract":"This exposition describes a process of investigating projection of form as a bridge between near and far, physical and virtual, anchored in the production of what I call \u201chandheld devices\u201d and a multimedia performance. It explores sympathetic dwelling in the crevices of the clay forms in relation to the smooth openness of the built environment of scientific and institutional space exemplified by the Phil and Penny Knight Campus for Accelerating Scientific Impact at the University of Oregon which graciously hosted me for a Center for Art Research Project Incubator residency and fellowship in 2023. In this text, I take up concepts of information and noise, distance and intimacy, affordances and the dynamics of action.<\/jats:p>","DOI":"10.22501\/hub.2273345","type":"journal-article","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T12:06:37Z","timestamp":1703160397000},"source":"Crossref","is-referenced-by-count":0,"title":["Projecting Form, Investigating Distance"],"prefix":"10.22501","author":[{"family":"Agnese Cebere","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:26Z","timestamp":1727194166000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2273345\/2273358"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/hub.2273345","published":{"date-parts":[[2023,12,21]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:12Z","timestamp":1727238672222},"posted":{"date-parts":[[2016,1,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"video documentation related with the doctoral research.<\/jats:p>","DOI":"10.22501\/rc.142075","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:34Z","timestamp":1498067614000},"source":"Crossref","is-referenced-by-count":0,"title":["Performance documentations for the dissertation"],"prefix":"10.22501","author":[{"family":"Tero Nauha","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:53Z","timestamp":1727192993000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/142075\/142076"}},"issued":{"date-parts":[[2016,1,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.142075","published":{"date-parts":[[2016,1,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:12Z","timestamp":1727238672919},"posted":{"date-parts":[[2012,2,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"How are the body's sensations connected to what the mind imagines? An investigation through a series of choreographic practices, which all graft at least two existing movement and\/or performing practices onto each other, accompanied by several drawing exercises, which act as two-dimensional renderings of the three- or four-dimensional practice of choreography, and with the attentive, mindful body as a hinge between the sensory and the imaginary.\n\nIn my contribution to the ARC I try to trace the trajectory of the research during its two-year course in its chronological order. This seems to be in place especially for a time-based art-form such as choreography, in which an audience witnesses any research findings over the time of the choreography.<\/jats:p>","DOI":"10.22501\/rc.18701","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:47Z","timestamp":1498067747000},"source":"Crossref","is-referenced-by-count":0,"title":["choreographic things, dancing"],"prefix":"10.22501","author":[{"family":"Martin Nachbar","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:59Z","timestamp":1727193059000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/18701\/18702"}},"issued":{"date-parts":[[2012,2,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.18701","published":{"date-parts":[[2012,2,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:13Z","timestamp":1727238673730},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,12,29]]},"abstract":"In 2019, I curated and designed Off the Grid, an exhibition on post-war Belgian graphic design at Design Museum Gent. The show included public events (Design Museum Gent, 2019\u201320) and led to a publication (De Bondt, 2022), all of which have been elements of my practice-based doctoral research at KASK School of Arts and Ghent University.\n \nCurating Off the Grid allowed me to define my own research area, namely the investigation of graphic design from a specific country and period. The process also raised broader questions around naming, authorship, and canon-formation, which in turn have enriched my practice as a designer and educator. The curatorial thus became a methodology that allowed me to bring the two sides \u2014 my historical research and my graphic design practice \u2014 together. In this article, I discuss my engagement with graphic design via the curatorial, and how the latter can be deployed for practice-based graphic design research in and beyond exhibition spaces.<\/jats:p>","DOI":"10.22501\/jar.974865","type":"journal-article","created":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T11:20:13Z","timestamp":1672312813000},"source":"Crossref","is-referenced-by-count":0,"title":["Curating as graphic design research"],"prefix":"10.22501","author":[{"family":"Sara De Bondt","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:30Z","timestamp":1727193090000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/974865\/1511874"}},"issued":{"date-parts":[[2022,12,29]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jar.974865","published":{"date-parts":[[2022,12,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:58Z","timestamp":1727238658474},"posted":{"date-parts":[[2024,6,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Abstract \n\nThis artistic research project focuses on narrative accounts of Norwegians who self-identify with a \u2018multicultural and\/or immigration background(s)\u2019, to explore how their (hi)stories can be woven into the tapestry of the contemporary Norwegian public memory and story. I set out to interview and collect their narrative accounts, which must also be understood as oral (topical) histories, focusing on (hi)stories of their lived experiences, with a special interest in an event that happened in a public space and has been experienced as a meaningful or life-changing moment. Through a collaborative process, the oral (hi)stories were transformed and used to produce interactive monuments installed on the sites where the narrated events took place. \n\nOne of the key artistic challenges in the project was to grapple with the question of how not only the collaborators but also the public can be empowered to actively shape and engage with artistic works, becoming co-collaborators themselves. \n\nThis artistic inquiry led to the development of monu(mo)ments, an artistic concept and initiative that is dedicated to turning stories of Norway\u2019s diversity into interactive, performative works of public art. The monu(mo)ments are not just symbols of collective memory but embody that very concept in how they themselves function. Through an interactive\/participatory design, the public is invited to contribute their own narratives, perspectives, and experiences, shaping the monu(mo)ment's meaning and relevance. They invite the public to become co-creators of the narratives embedded within their communal spaces, fostering a sense of ownership and agency, and blurring the boundaries between artist(s) and public, the past and the present. \n\nThe project strives to illuminate the untold oral (hi)stories of these narrators by allowing them to take over public spaces and infuse them with gripping personal narratives to shift how we read those places and (re)negotiate their past\/meaning. This is to create an \u2018alternative history\u2019, dedicated to writing and inscribing these voices into public spaces and our broader collective imagination.\n\nOther artistic results include a live-action role-playing game (LARP). Furthermore, the larp was modified to serve as a resource for educators, enabling them to address interconnected themes within their classrooms through immersive gameplay. It has been performed in schools, festivals, and conferences in Norway, Austria, and Denmark. \n\nOverall, by creating artistic works that (re)imagining public memory as a dynamic and interactive process, this artistic research project foregrounds and contributes to the ongoing efforts to capture and reflect Norway\u2019s multicultural reality and identity.<\/jats:p>","DOI":"10.22501\/rc.2851282","type":"posted-content","created":{"date-parts":[[2024,6,28]],"date-time":"2024-06-28T15:36:31Z","timestamp":1719588991000},"source":"Crossref","is-referenced-by-count":0,"title":["Alternative Histori[es]: A Place Where Something Happened"],"prefix":"10.22501","author":[{"family":"Eliot Moleba","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:04Z","timestamp":1727192464000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2851282\/2911576"}},"issued":{"date-parts":[[2024,6,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2851282","published":{"date-parts":[[2024,6,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:03Z","timestamp":1727238663094},"posted":{"date-parts":[[2023,10,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"My first RC exposition<\/jats:p>","DOI":"10.22501\/rc.1772891","type":"posted-content","created":{"date-parts":[[2023,10,20]],"date-time":"2023-10-20T10:58:03Z","timestamp":1697799483000},"source":"Crossref","is-referenced-by-count":0,"title":["My first RC exposition"],"prefix":"10.22501","author":[{"family":"Vincent Meelberg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:13Z","timestamp":1727192533000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1772891\/1772892"}},"issued":{"date-parts":[[2023,10,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1772891","published":{"date-parts":[[2023,10,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:06Z","timestamp":1727238726054},"posted":{"date-parts":[[2016,12,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Among the members of the Archaeological Institute of the German Reich, the architectural historian Hans Schleif was notable for the extent of his involvement with the crimes of the National Socialist regime. His achievements in scientific research, for instance as director of excavations at Olympia, are over\u00acshadowed by his career in the SS. He was director of the Excavation Department of the \u00bbAhnen\u00acerbe\u00ab (ancestral herit\u00acage) of the SS. After the German invasion of Poland he was briefly appointed Custodian of German Cultural Assets based in Posnan. In 1943, he joined the SS Head Office for Economic and Administrative Af\u00acfairs and rose to the position of deputy to C Group (Construction) director, Dr. Hans Kammler, whose permanent representative in the J\u00e4ger- und R\u00fcstungsstab task force he became. In this role, Schleif was responsi\u00acble above all for moving key arms production facilities underground, where fighter planes and the \u00bbreprisal weapons\u00ab V1 and V2 were built \u2013 hence for the largely subterranean concentra\u00action and slave labour camps of the Sonderstab Kammler. His grandson, the actor Matthias Neukirch, created a theatre production about Schleif in collaboration with stage director Julian Klein at the Deutsches Theater Berlin. This text is a result of the research undertaken for the production, and reports on selected stages in Schleif\u2019s biography.\nThis are the addenda and the register of the publication in the yearbook of the German Archaeological Institute, No. 131, 2016.<\/jats:p>","DOI":"10.22501\/rc.308154","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:11Z","timestamp":1498067591000},"source":"Crossref","is-referenced-by-count":0,"title":["Hans Schleif - Stations of the Biography of an Architecture Historian in German National Socialism \u2013 Addenda and Register"],"prefix":"10.22501","author":[{"family":"Julian Klein","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:47Z","timestamp":1727192987000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/308154\/308155"}},"issued":{"date-parts":[[2016,12,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.308154","published":{"date-parts":[[2016,12,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:04Z","timestamp":1727238724827},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.<\/jats:p>","DOI":"10.22501\/rc.1281932","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T07:34:09Z","timestamp":1622705649000},"source":"Crossref","is-referenced-by-count":0,"title":["TRAVELING"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:00Z","timestamp":1727192760000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1281932\/1281933"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1281932","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:07Z","timestamp":1727238727688},"posted":{"date-parts":[[2012,3,12]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"'Luginsland (Sound and Score)' displays both a visualization and an audification of a seismic recording, that was taken at Kunsthalle Bern during the exhibition 'Pre-Emptive' (18\/08\/2006 \u2013 08\/10\/2006). The exposition focuses on the dialectic of notation and performance, that has a long tradition in music, but is here transposed into the context of sonification research and sound art.<\/jats:p>","DOI":"10.22501\/rc.17801","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:44Z","timestamp":1498067744000},"source":"Crossref","is-referenced-by-count":0,"title":["Luginsland (Sound and Score)"],"prefix":"10.22501","author":[{"family":"Florian Dombois","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:04Z","timestamp":1727193064000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/17801\/19899"}},"issued":{"date-parts":[[2012,3,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.17801","published":{"date-parts":[[2012,3,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:08Z","timestamp":1727238728720},"posted":{"date-parts":[[2019,11,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is the script and work shown at the 6th Colloquium on Artistic Research in Performing Arts in Helsinki 2019. The exposition is intended as an addendum to the forthcoming Conference Proceedings.<\/jats:p>","DOI":"10.22501\/rc.724264","type":"posted-content","created":{"date-parts":[[2019,11,5]],"date-time":"2019-11-05T09:31:08Z","timestamp":1572946268000},"source":"Crossref","is-referenced-by-count":0,"title":["Aesthetics (presentation at CARPA6)"],"prefix":"10.22501","author":[{"family":"Hanna J\u00e4rvinen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:56Z","timestamp":1727192936000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/724264\/724265"}},"issued":{"date-parts":[[2019,11,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.724264","published":{"date-parts":[[2019,11,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:11Z","timestamp":1727238731982},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2016,4,28]]},"abstract":"'Place setting: notes on Red76's Occupy Yr. Home' is a collaborative piece of writing between Heath Schultz and Sam Gould, primary organiser of the artist group Red76. The piece doubles as a critical review of the Red76 project 'Occupy Yr. Home' \u2013 a facilitated conversation in a participant's home around the themes of occupation and the domestic sphere. The text explores problems that plague much participatory art and social practice. Unique to this piece of writing is a parallel conversation (played out in the footnotes) in which Sam responds to Heath's review, offering anecdotes, clarifications, and thoughts. The dialogue within the footnotes suggests divergent viewpoints from the 'authoritative text'. In this way, the experimental form of the piece struggles with the important question of how different experiences of the same event can texture and complicate discourses around participatory art.<\/jats:p>","DOI":"10.22501\/jar.154398","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T19:41:31Z","timestamp":1492458091000},"source":"Crossref","is-referenced-by-count":0,"title":["Notes on Red76's Occupy Yr. Home"],"prefix":"10.22501","author":[{"family":"Heath Schultz","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Samuel Gould","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:20Z","timestamp":1727193200000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/154398\/154399"}},"issued":{"date-parts":[[2016,4,28]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/jar.154398","published":{"date-parts":[[2016,4,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:12Z","timestamp":1727238732026},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2016,11,8]]},"abstract":"In the research project \u201atrees: Rendering Ecophysiological Processes Audible\u2018, we worked on the acoustic recording, analysis and representation of ecophysiological and climatic processes in and around plants and studying the acoustic and aesthetic requirements for making them perceptible. We recorded sounds of plants and brought them in relation to other measurement data such as that relating to the microclimate, sap flow, changes in trunk radius and water potential in the plants\u2019 organs \u2013 measurement data that is not auditory per se. How can processes that are beyond our normal perception be made directly perceptible, creating new experiences and opening a new window on nature for scientists, artists and the general public? To what extent is our sense of hearing of use? The product of our research project, the installation 'trees: Pinus sylvestris' replays sonifications of ecophysiological measurement data as well as recordings of acoustic emissions of a tree from early summer 2015 \u2013 the peak of the growth period of our experimentation plant, a Scots pine (Pinus sylvestris) located in the central Swiss Alps in Salgesch in the canton of Valais. The installation is designed as an artistic observation system that transforms ecophysiological data into a generative piece of music. 'Trees: Pinus sylvestris' makes experienceable and audible the normally hidden processes by which a plant copes with its local conditions.<\/jats:p>","DOI":"10.22501\/jar.215961","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T19:52:36Z","timestamp":1492458756000},"source":"Crossref","is-referenced-by-count":0,"title":["trees: Pinus sylvestris"],"prefix":"10.22501","author":[{"family":"Marcus Maeder","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:11Z","timestamp":1727193191000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/215961\/215962"}},"issued":{"date-parts":[[2016,11,8]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/jar.215961","published":{"date-parts":[[2016,11,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:15Z","timestamp":1727238735551},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2015,8,31]]},"abstract":"In this exposition we present the outlines of the artistic research project Wikiphonium, and discuss how the Bakhtinian concept of dialogue can function as a theoretical, practical and methodological approach in artistic research projects.\n\nThe Wikiphonium project was an investigation into new ways of playing the euphonium and creating new music for the instrument, in close dialogue with various composers and musicians. The work contributed to the expansion of the sonic possibilities, expressions, and repertoire for brass instruments in general. Three interrelated parts together constituted the practice as artistic research: thirteen concerts and performances consisting of new works for euphonium based on experimental collaborations with composers and musicians, experimentation with the instrument's possibilities, and development of different tools enabling these developments, including a wiki with a library of sounds and notations.\n\nThe exposition contributes to the general methodological discussion in the field of artistic research, illustrated through examples and experiences from the dialogic approach in the Wikiphonium project. A genuine dialogic attitude in artistic research processes enriches critical reflections embedded in the practice. Documentations of process and results together with the multimedia tool wikiphonium.org constitute a transparent and open communication of artistic practice as research.<\/jats:p>","DOI":"10.22501\/jar.56371","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T18:52:53Z","timestamp":1492455173000},"source":"Crossref","is-referenced-by-count":0,"title":["Divergent voices \u2013 Different dialogues in the artistic research project Wikiphonium"],"prefix":"10.22501","author":[{"family":"Hilde Blix","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Geir Davidsen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:28Z","timestamp":1727193208000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/56371\/56372"}},"issued":{"date-parts":[[2015,8,31]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/jar.56371","published":{"date-parts":[[2015,8,31]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:19Z","timestamp":1727238739567},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,5,27]]},"abstract":"Name: Shanti Nachtergaele\n\nMain Subject: Violone\n\nResearch Coach: Anna Scott\n\nTitle of Research: Examination of Mid-Nineteenth Century Double Bass Playing Based\non A. Mu\u0308ller and F.C. Franke\u2019s Discourse in the Neue Zeitschrift fu\u0308r Musik, 1848 \u2013 1851:\nWith a discussion of the relevance of historical techniques to modern conventional and\nhistorically informed (\u2018HIP\u2019) performance practices\n\nResearch Questions:\n\u2022 Should historical double bass techniques be incorporated into historically informed\nperformance (\u2018HIP\u2019) practices today, and how can historical techniques be used to\nenhance modern performances?\n\u2022 Who was F.C. Franke, what insights can he and August M\u00fcller provide about the state\nof double bass playing c. 1850, and which of their ideas can be applied by double\nbassists today?\n\u2022 Can Mu\u0308ller\u2019s and Franke\u2019s contrasting ideas be combined, and what benefits does this\nintegration offer to both \u2018HIP\u2019 and mainstream modern performers?\n\nSummary of Results:\nIn the period 1849 - 1851, a collection of articles by A. M\u00fcller and F.C. Franke appeared\nin the Neue Zeitschrift f\u00fcr Musik, which discussed various aspects of double bass playing.\nThe two double bassists agreed on some points, including that the double bass has a very\nimportant role in the orchestra, that there was a lack of good double bass players at the\ntime, and the general characteristics of a good instrument; but they debated other\nsubjects, such as playing stance, left hand technique, bow technique, the components of\ndaily practice, and the common practice of simplifying double bass parts. Their\ndiscussion on these topics has implications for historically informed performance,\nespecially in regards to the performance of orchestral works. During my presentation I\nwill briefly discuss the historical background of my research, including biographical\ninformation, the state of double bass playing in the mid-nineteenth century. Using\nrecorded audio and video examples and live demonstrations, I will then discuss the\npractical components of this artistic research: Franke\u2019s and M\u00fcller\u2019s opposing fingering\nmethods, and M\u00fcller\u2019s suggested modifications of the double bass parts of Beethoven's\nsymphonies.\n\nBiography:\nShanti Nachtergaele grew up in California (USA), and holds a Bachelor of Music degree\nin Double Bass Performance from Shenandoah Conservatory, where she studied with\nDonovan Stokes. She currently studies historic double bass and 8\u2019 violone with Maggie\nUrquhart, and is interested in exploring historical perspectives of bass pedagogy and\ntechnique. Her research won the student division of the 2014 International Society of\nBassists Research Competition, and she has been invited to present at the ISB\u2019s 2015\nconvention.<\/jats:p>","DOI":"10.22501\/koncon.103988","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:49:04Z","timestamp":1725922144000},"source":"Crossref","is-referenced-by-count":0,"title":["Examination of mid-nineteenth century double bass playing based on A. M\u00fcller and F.C. Franke\u2019s discourse in the Neue Zeitschrift f\u00fcr Musik, 1848 \u2013 1851"],"prefix":"10.22501","author":[{"family":"Shanti Nachtergaele","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:30Z","timestamp":1727193510000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/103988\/135390"}},"issued":{"date-parts":[[2015,5,27]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.103988","published":{"date-parts":[[2015,5,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:16Z","timestamp":1727238676075},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2012,11,5]]},"abstract":"In this exposition we describe and theorize the evolution of an artistic enquiry entitled Playing the Spiral Jetty. This is accomplished in four parts. In part one we present our understanding of play as research methodology. Then, in part two we narrate and contextualize our encounter of the exhibition Contemporary Masters, an installation of an 18-hole, artist-designed, miniature golf course. In part three we elaborate our improvisations and conceptualizations of Playing the Spiral Jetty. Finally, in part four, we conclude with a theorization of play enacted in our performance. Play, as action and reaction, becomes a non-deterministic tactic or strategy for rethinking and redirecting understandings of and engagements with art. As a research enquiry, play is integrally linked to art making and as such, a way of knowing. The medial space in which play and subsequently art occupy create opportunities for novel ontological understandings.<\/jats:p>","DOI":"10.22501\/jar.2387","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T08:48:40Z","timestamp":1492418920000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing the Spiral Jetty"],"prefix":"10.22501","author":[{"family":"Juan Carlos Castro","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Daniel T. Barney","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:17Z","timestamp":1727193257000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2387\/2388"}},"issued":{"date-parts":[[2012,11,5]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/jar.2387","published":{"date-parts":[[2012,11,5]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:19Z","timestamp":1727238679916},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,9,3]]},"abstract":"\u00ab\u00a0Should the interpretation of Monteverdi\u2019s lamenti and lettere amorose be closer to the pre-existing art of declamation?\u00a0\u00bb\n\nNowadays, Monteverdi has become so sacred to the Early musician, that we are afraid of disturbing his art in our interpretation of his written down musical lines. So we stick to what is written, respecting every pitch, every note value, and God forbid we change the tactus! For a lot of Monteverdi\u2019s music, this is a respectable approach. However, when it comes to the interpretation of his lamentations (lamenti) and love letters (lettere amorose), one asks themselves whether it should perhaps be done in a more declamative way. These two genres are composed in the stile recitativo and carry so much unrepeated text that it seems almost improbable that one should approach these compositions from the notes rather than from the poetry. If the seconda pratica is the beginning reign of the text over the harmony in the composition process, then why not adopt this same concept in the interpretation process? \n\nThroughout this research, I will first observe the historical context of these two genres and their connections with the world of the Commedia dell\u2019Arte. I will then discuss the very delicate question of the tactus. And finally, I will attempt to interpret a couple of Monteverdi\u2019s compositions, basing myself on the declamation skills of a Commedia dell\u2019Arte specialist with whom I worked closely.<\/jats:p>","DOI":"10.22501\/koncon.530540","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:42:51Z","timestamp":1725921771000},"source":"Crossref","is-referenced-by-count":0,"title":["Monteverdi\u2019s lamenti and lettere amorose and the pre-existing art of declamation"],"prefix":"10.22501","author":[{"family":"Judith Sepulchre","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:14Z","timestamp":1727193434000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/530540\/530541"}},"issued":{"date-parts":[[2019,9,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.530540","published":{"date-parts":[[2019,9,3]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:23Z","timestamp":1727238683913},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"This co-authored exposition studies three different art exhibitions as complex phenomena by focusing on how exhibitions happen, are in the making. Based on participatory experience, 'Exhibition Intra-Actions' offers insights to the agential capacities of the exhibition space and art \u2018object\u2019 in situations as varied as understanding and experiencing post-internet art, curating a geopolitically sensitive exhibition, and writing a wall text while exhibition is in the making.<\/jats:p>","DOI":"10.22501\/ruu.369606","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T15:49:30Z","timestamp":1538236170000},"source":"Crossref","is-referenced-by-count":0,"title":["Exhibition Intra-Actions: Experiences, Identities, and Texts in the Making"],"prefix":"10.22501","author":[{"family":"Katve-Kaisa Kontturi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Zuzana \u0160tefkov\u00e1","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Helena Grande Vicente","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:52Z","timestamp":1727193772000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/369606\/369607"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.369606","published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:29Z","timestamp":1727238689083},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,3,20]]},"abstract":"Lucie Strecker (Angewandte Performance Laboratory and Department of Art and Communication Practices) reveals the artistic working process preceding a production with the contribution \"Rewritable Creatures\", reflecting on mimesis and hybridity in choreography through an exchange of letters with the late performer Daniel Aschwanden (Angewandte Performance Laboratory and Department of Art and Communication Practices) and the author Vera Sebert. As the three letter-writers search, speculate and ask each other questions, the text becomes a written performance, revealing an immediate, polyphonic approach to the subject that allows readers to become part of the performance. In this way, processes of hybridisation become manifest in writing. The performance, however, cannot be completed; Aschwanden\u2019s sudden death interrupts the text, turning the contribution, in a sense, into a memorial to an artist, friend, and colleague and the readers into witnesses.<\/jats:p>","DOI":"10.22501\/repos.1841017","type":"journal-article","created":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T10:36:33Z","timestamp":1679308593000},"source":"Crossref","is-referenced-by-count":0,"title":["Rewritable Creatures. Correspondence between Daniel Aschwanden, Vera Sebert and Lucie Strecker on Mimesis and Hybridity in Choreography"],"prefix":"10.22501","author":[{"family":"Lucie Strecker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Vera Sebert","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:06:31Z","timestamp":1727193991000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1841017\/1841018"}},"issued":{"date-parts":[[2023,3,20]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/repos.1841017","published":{"date-parts":[[2023,3,20]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:29Z","timestamp":1727238689269},"reference-count":0,"publisher":"Society for Artistic Research","issue":"University of Applied Arts Vienn","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2017,3,22]]},"abstract":"Periphrasis (for a ditto, ditto device) is an experimentally designed scenario in the draft stage, a think-tank and rehearsal for a future exhibition\u2014but Periphrasis (for a ditto, ditto device) is also an exhibition in itself. Starting from the idea of the copy as a nowadays omnipresent yet more and more invisible artistic practice and form, seven Austrian and international participants discuss different strategies of appropriation. At the center of this public reflection on methodologies is the potential of the act of copying, its generative force and mimetic productivity. The purpose of this test setting is to collect current copying methods and to analyze their modes. By subjecting the copy to the act of copying again, new copying techniques will derive from this process, creating a research loop that is self-reflective and auto-generative at the same time.<\/jats:p>","DOI":"10.22501\/repos.341107","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:06:45Z","timestamp":1727194005000},"source":"Crossref","is-referenced-by-count":0,"title":["Periphrasis (for a ditto, ditto device)"],"prefix":"10.22501","author":[{"family":"Franz Thalmair","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Michael Kargl","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:06:45Z","timestamp":1727194005000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/341107\/341108"}},"issued":{"date-parts":[[2017,3,22]]},"references-count":0,"journal-issue":{"issue":"University of Applied Arts Vienn"},"URL":"https:\/\/doi.org\/10.22501\/repos.341107","published":{"date-parts":[[2017,3,22]]}},{"indexed":{"date-parts":[[2022,3,31]],"date-time":"2022-03-31T22:39:54Z","timestamp":1648766394506},"posted":{"date-parts":[[2013,9,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.42160","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:19Z","timestamp":1498067719000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound Art: Klang als Medium der Kunst"],"prefix":"10.22501","author":[{"family":"Jan Nieuwenhuis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2017,7,11]],"date-time":"2017-07-11T20:09:24Z","timestamp":1499803764000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/42160\/42161"}},"issued":{"date-parts":[[2013,9,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.42160","published":{"date-parts":[[2013,9,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T22:10:32Z","timestamp":1742249432387,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T00:00:00Z","timestamp":1742169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,3,17]]},"abstract":"There are moments within a performance where destruction and deviation from reality allow an alternative scenario to reveal itself. I argue that these moments can be called \u2018brieftopic\u2019, fleeting glimpses into a possible future (Behzad Khosravi Noori, 2024). But what are the connections between reality, deviation and alternative scenario? How can this brieftopia, which materializes for brief moments within a performative event, reverberate outside of it, propagating at a social and political level? During the site-specific improvisation series [in situ], it became evident to me that this brieftopia is tied to an artist\u2019s relinquishment of control, leading to a decentralization of the performance. By introducing the case study, specifically the [in situ] performance held in September 2023 at the Maremma National Park, we will see how unforeseen, unpredictable, and non-linear interactions between myself, the audience, and the non-human components of the ecosystem in which we were immersed, shaped the performance itself, steering it in an unexpected direction and removing it from the continuum of artistic intention, audience perception, and everyday life reflection. In this brieftopia, in a sense, it is existence itself that is reduced to rubble, not for the love of rubble, but for the way out that passes through it, paraphrasing Walter Benjamin.<\/jats:p>\n keywords: Brieftopia, post-human, performance, re-enactment, landscape, site, Environment, improvisation, real-time composition<\/jats:p>","DOI":"10.22501\/vis.2828120","type":"journal-article","created":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T21:35:32Z","timestamp":1742247332000},"source":"Crossref","is-referenced-by-count":0,"title":["escalating inter-activity: brieftopic glimpse in site-specific post-human improvised music"],"prefix":"10.22501","author":[{"family":"Barbierato Leonardo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T21:35:33Z","timestamp":1742247333000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2828120\/2828121"}},"issued":{"date-parts":[[2025,3,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/vis.2828120","published":{"date-parts":[[2025,3,17]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T16:26:44Z","timestamp":1754152004380,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2024,8,13]],"date-time":"2024-08-13T00:00:00Z","timestamp":1723507200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2024,8,13]]},"abstract":"Jak vypr\u00e1v\u011bt filmem procesu\u00e1ln\u00ed charakter systemick\u00fdch konstelac\u00ed? M\u00fdm z\u00e1m\u011brem bylo prohl\u00e9dnout si, jak\u00e9 varianty jako filma\u0159i m\u00e1me k zobrazen\u00ed komunikace vnit\u0159n\u00edch proces\u016f a v\u00edcevrstevn\u00fdch d\u011bj\u016f prost\u0159ednictv\u00edm audiovize. Sna\u017eila jsem se osahat hranici mezi pro\u017eitkem \u00fa\u010dastn\u00edk\u016f systemick\u00fdch konstelac\u00ed a jeho z\u00e1znamem. Hlavn\u00ed ot\u00e1zkou pro mne bylo, zda je mo\u017en\u00e9 adekv\u00e1tn\u011b zprost\u0159edkovat d\u011bn\u00ed v konstela\u010dn\u00edm poli pomoc\u00ed filmu, a spolu se st\u0159iha\u010dkou Kate\u0159inou Krutskou Vrbovou jsme ve st\u0159i\u017en\u011b zkoumaly, jak\u00e9 filmov\u00e9 a st\u0159ihov\u00e9 p\u0159\u00edstupy by byly pro zachycen\u00ed t\u00e9to slo\u017eit\u00e9 dynamiky nejefektivn\u011bj\u0161\u00ed.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/artact.2491473","type":"journal-article","created":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:27Z","timestamp":1753096707000},"source":"Crossref","is-referenced-by-count":0,"title":["Vrstvy konstelace: pozn\u00e1mky ze st\u0159i\u017eny"],"prefix":"10.22501","author":[{"family":"Tereza Reichov\u00e1","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Kate\u0159ina Krutsk\u00e1 Vrbov\u00e1","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:27Z","timestamp":1753096707000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2491473\/2614382"}},"issued":{"date-parts":[[2024,8,13]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/artact.2491473","published":{"date-parts":[[2024,8,13]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T14:17:57Z","timestamp":1754144277082,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"35","license":[{"start":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T00:00:00Z","timestamp":1752537600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,7,15]]},"abstract":"The Grand Tour Experiment: A Transformative Traverse of the Picturesque Landscape was a human-pulled carriage journey that re-envisioned the eighteenth-century traverse of the picturesque landscape, the subject-objectification of the view, and the imperialistic impulse behind the voyage pittoresque. This artistic experiment visually, kinaesthetically, and performatively explored the transformation from landscape to image that formed the basis of modern perception, as part of the colonial legacy inherent within the picturesque view. The Grand Tour carriage was pulled by human labour, evidencing the forced labour economy that impelled the European Enlightenment, while demonstrating in human terms, the use, abuse, and commodification of human and non-human animals. The Grand Tour proceeded from Binche to Brussels to Antwerp, Belgium in 2022.\n\nThe Grand Tour experiment investigated the eighteenth-century picturesque gaze, which travelled unchecked over the landscape in industrialised Europe, a harbinger of the annexation and enclosure of land that had been commonly owned, traditionally used, or publicly accessible, while portending the colonisation of lands abroad. The picturesque gaze, an imperialist mechanism, still fragments the landscape, excising two-dimensional pictures from the three-dimensional world around us, a vestige and augur of the destruction of lands, cultures, and peoples.\n\nShifting between early modern and contemporary perception, The Grand Tour bisected space and time in a cleaving manoeuvre, creating new fault lines in which multiple planes of space-time might co-exist. This experiment tested whether a new neo-picturesque framework could be forged in a dimension of space-time that alters according to the perception and orientation of the traverser, casting contingent new imaginaries into physical and psychic realms where they may or may not become realities, according to Arno B\u00f6hler\u2019s philosophy as artistic research approach (2019). This experiment envisaged a plurality that did not exist in the eighteenth century but may have already been limned in its myriad contradicting, contrasting, and diverging modes of sensing and experiencing the world around us in a relational and now relative notion of space-time.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n<a class=\"download-accessible\" href=\"download-media?work=3794668&file=3794702\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: Grand Tour, Philosophy as artistic research, Picturesque aesthetics, The eighteenth-century landscape traverse, Leibniz's relationalism, Alain Roger's artialisation in visu, Imperialist gaze, Simultaneous and sequential space-time, Condillac's sensationism<\/jats:p>","DOI":"10.22501\/jar.3440412","type":"journal-article","created":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T11:11:52Z","timestamp":1752577912000},"source":"Crossref","is-referenced-by-count":0,"title":["The Grand Tour Experiment: A Transformative Traverse of the Picturesque Landscape"],"prefix":"10.22501","author":[{"family":"Rebecca J. Squires","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Bart Geerts","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T11:11:52Z","timestamp":1752577912000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3440412\/3440256"}},"issued":{"date-parts":[[2025,7,15]]},"references-count":0,"journal-issue":{"issue":"35"},"URL":"https:\/\/doi.org\/10.22501\/jar.3440412","published":{"date-parts":[[2025,7,15]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:26:44Z","timestamp":1725928004323},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,10,1]]},"abstract":"my research topic is The tenor in Puccini's operas, and my research question is what make Puccini's opera special? Secondly is how to singing Tenor's arias in Puccini's operas<\/jats:p>","DOI":"10.22501\/koncon.414253","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:42:33Z","timestamp":1725921753000},"source":"Crossref","is-referenced-by-count":0,"title":["Tenor in Puccini's opera"],"prefix":"10.22501","author":[{"family":"Hao Wang","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:42:33Z","timestamp":1725921753000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/414253\/414254"}},"issued":{"date-parts":[[2019,10,1]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.414253","published":{"date-parts":[[2019,10,1]]}},{"indexed":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T21:40:15Z","timestamp":1737495615280,"version":"3.33.0"},"posted":{"date-parts":[[2025,1,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"How to Speak a Foreign Language Without Mistakes is a performative video piece centred around the Linguo Booster Phonecase, created for the Tactilite exhibition at Hobusepea Gallery in 2021.\n\nJewellery witch Seraphita presents the Linguo Booster Phonecase as an intermediary between the person and language. This accessory, engaging with the oral cavity, features a cylindrical jadeite stone. Its translucent green hue harmonises with the exhibition\u2019s style, glowing as light filters through it from the phone\u2019s lamp.\n\nEmploying Haptic Visuality, this multisensory approach weaves together emotional resonance and speculative ritual, reimagining connection within a pseudomagical framework.\n\nIdea and performance: Darja Popolitova\nVideo effects: Jakob Tulve\nSound: Andres N\u00f5lvak\n\n\n\u00a9 Darja Popolitova<\/jats:p>","DOI":"10.22501\/rc.3353854","type":"posted-content","created":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T21:07:55Z","timestamp":1737493675000},"source":"Crossref","is-referenced-by-count":0,"title":["How to Speak a Foreign Language Without Mistakes"],"prefix":"10.22501","author":[{"family":"Jewellery witch Seraphita","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T21:07:56Z","timestamp":1737493676000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3353854\/3353855"}},"issued":{"date-parts":[[2025,1,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3353854","published":{"date-parts":[[2025,1,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:16Z","timestamp":1733202796480,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,6,9]]},"abstract":"Contemporary Indian films, in their essentially digitalized realms, incorporate techniques such as the location-based multitrack \u201csync\u201d recording, and surround sound design that reorder the organization of cinematic sound. These practices contrast with the earlier mono- or stereo formats by reconfiguring the linear construct of a soundtrack to produce a spatially evocative sonic environment that offers the listener a more life-like auditory experience of the fictional site. Using significant examples from post-2000 Indian films, this article shows how earlier practices are being replaced by \u201csync\u201d sound elements and surround sound mixing with a richly spatial arrangement of site-specific ambience. The article argues that these layers of ambient sounds lead to audiences establishing their embodied experience of presence with the fictional site via auditory spatial cognition and immersion in a cinematic soundscape. By situating contemporary sound production practices within the various trajectories of Indian cinema, this article contributes to the broader field of research examining the key developments and emergent aesthetics in constructing spatial environments for cinema.<\/jats:p>","DOI":"10.22501\/jss.286592","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:06Z","timestamp":1733149566000},"source":"Crossref","is-referenced-by-count":0,"title":["Being There: Evocation of the Site in Contemporary Indian Cinema"],"prefix":"10.22501","author":[{"family":"Budhaditya Chattopadhyay","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:06Z","timestamp":1733149566000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/286592\/286593"}},"issued":{"date-parts":[[2020,6,9]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.286592","published":{"date-parts":[[2020,6,9]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:20Z","timestamp":1733202800557,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,1,19]]},"abstract":"Available today under the name of the Berlin Sound Archive (Berliner Lautarchiv) or the Sound Archive of the Humboldt University (Lautarchiv der Humboldt-Universit\u00e4t zu Berlin) is a collection of now largely digitalized sound storage media begun in 1915 (https:\/\/www.lautarchiv.hu-berlin.de\/, all internet references retrieved 24th June 2016). The collection includes shellac records with recordings of prisoners of war (1915-1918), sound recordings of the voices of so-called famous personalities (1917-1939), speech samples of German dialects (1921-1943), and recitations of poetry and literature in German (1930s and 1940s) as well as magnetic tapes from the 1960s that have not yet been transferred to a digital format. While, since its inception, the collection has repeatedly been referred to as a sound archive, prior to the digitalization of the shellac holdings in the 1990s this term never found its way into any of its official names. Against this background, this article traces both the Sound Archive\u2019s early institutional history (1915-1947) as well as the use of the term \u201csound archive.\u201d By considering the archiving of voices in the framework of an emerging history of knowledge, it explores the disciplinary contexts (the academic sciences) and configurations of conservation, research, and presentation (collection, archive, laboratory, library, and museum) in which the preserved human voice operates as an epistemic object. On the basis of a renewed examination of a number of sound recordings of prisoners of war, it should be shown how this historical material can be made productive for current research horizons.<\/jats:p>","DOI":"10.22501\/jss.326465","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:00Z","timestamp":1733149620000},"source":"Crossref","is-referenced-by-count":0,"title":["Archive, Collection, Museum: On the History of the Archiving of Voices at the Sound Archive of the Humboldt University"],"prefix":"10.22501","author":[{"family":"Britta Lange","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:01Z","timestamp":1733149621000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/326465\/326466"}},"issued":{"date-parts":[[2017,1,19]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/jss.326465","published":{"date-parts":[[2017,1,19]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:21Z","timestamp":1733202801138,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"07","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,6,26]]},"abstract":"The disappearance of the object seems to be a fait accompli in recorded commercial music; nobody cares anymore about the traditional physical carriers of audio. Perhaps radio broadcast was the first dematerialization of music. The online\/cloud streaming can be seen as a further degree of dematerialized ownership which takes us back to the age-long situation of our hands (and our shelves) being empty of any imaginable materialized music.<\/jats:p>","DOI":"10.22501\/jss.87923","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:33Z","timestamp":1733149653000},"source":"Crossref","is-referenced-by-count":0,"title":["Music Dematerialized?"],"prefix":"10.22501","author":[{"family":"Francisco Lopez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:33Z","timestamp":1733149653000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/87923\/87924"}},"issued":{"date-parts":[[2014,6,26]]},"references-count":0,"journal-issue":{"issue":"07"},"URL":"https:\/\/doi.org\/10.22501\/jss.87923","published":{"date-parts":[[2014,6,26]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:58Z","timestamp":1733202778614,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2023,3,6]]},"abstract":"The writing that follows (interspersed between other articles) is a series of personal reflections on \u201clistening\u201d \u2013 a term which, for me, refers to an embodied attentive state, including but not limited to the ears. I write from my own experiences as a trans non-binary person of colour and reflect specifically on the ways in which listening work relates to anti-racist and anti-colonial work. Within the writing, certain words are hyperlinks. These are offered as moments of dialogue \u2013 moments where you are invited, if you wish, to read other texts that are in relationship with the particular word, phrase, or idea that is linked. At the end of the section titled \u201c4. Portals,\u201d there is a short list of links to artists and authors who are directly mentioned in the text as well as a list of further references in case they are of interest.<\/jats:p>","DOI":"10.22501\/jss.1912703","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:10Z","timestamp":1733149510000},"source":"Crossref","is-referenced-by-count":0,"title":["4. Portals"],"prefix":"10.22501","author":[{"family":"Rajni Shah","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:11Z","timestamp":1733149511000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1912703\/1912702"}},"issued":{"date-parts":[[2023,3,6]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jss.1912703","published":{"date-parts":[[2023,3,6]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:59Z","timestamp":1733202779969,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,5,21]]},"abstract":"Based on an ethnography of a bioscience laboratory in Tokyo before and during the COVID-19 pandemic, this paper focuses on telepresence, and the growing demand for workers to maintain extended simultaneous presence in multiple electronic, or electronically augmented, spaces. In contrast to views promoting the liberating affordances of telework in the maintenance of healthy work-life balance (reduced commute time; increased \u201cpresence\u201d in family life), an analysis of sound reveals the way the home becomes reorganized, and ultimately de-prioritized, under work demands. In particular, online meetings, which privilege discrete information exchange, position the home as a barrier to productive communications. Receding the soundscape of the home in this way reflects a normalization of the neoliberal imperative to find self-realization in workplace forms of sociality.<\/jats:p>","DOI":"10.22501\/jss.1260529","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:15Z","timestamp":1733149515000},"source":"Crossref","is-referenced-by-count":0,"title":["Sounds of Another Home: Telepresence, COVID-19 and a Bioscience Laboratory in Transition"],"prefix":"10.22501","author":[{"family":"Rebecca Carlson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:16Z","timestamp":1733149516000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1260529\/1260530"}},"issued":{"date-parts":[[2021,5,21]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jss.1260529","published":{"date-parts":[[2021,5,21]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:08Z","timestamp":1733202788635,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,3,24]]},"abstract":"A distinguishing feature of the landline telephone is that, in contrast to most phones in use today, it belongs first and foremost to a place. Following the last thirty years of scholarly interest in the wide-ranging implications of mobile telephony, what would happen if we were to pay similar attention to the significance of living with \u201cplace-dependent\u201d sound technologies such as the home telephone? In this article, I draw on concepts from the fields of sound studies and science and technology studies (STS) to present the twentieth-century landline telephone as a place-dependent sound technology based on qualitative interviews with Danish landline telephone users. I emphasize several consequences of \u201cplace-dependency\u201d: First, that the home becomes an \u201cauditory territory\u201d (LaBelle 2010) where zones of telephonic silence and noise are fixed but also call for continuous negotiations. The notion of territory points us towards the second consequence \u2013 that negotiations of ownership become complicated through the landline telephone\u2019s attachment to a household rather than an individual. Third, I consider the implications of the landline telephone\u2019s irreducibility from its surroundings, where it exists as less a solitary technology than an assemblage of the home. Here, I also pay attention to the way immobility for the landline telephone is not a stable concept but is continuously re-negotiated by its users and its own assembled materiality.<\/jats:p>","DOI":"10.22501\/jss.1200507","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:09Z","timestamp":1733149509000},"source":"Crossref","is-referenced-by-count":0,"title":["Telephonic Territories. The Landline Phone As a \u201cPlace-Dependent\u201d Sound Technology"],"prefix":"10.22501","author":[{"family":"Mette Simonsen Abildgaard","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:09Z","timestamp":1733149509000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1200507\/1200508"}},"issued":{"date-parts":[[2021,3,24]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jss.1200507","published":{"date-parts":[[2021,3,24]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:10Z","timestamp":1733202790137,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,10,10]]},"abstract":"The International Community for Auditory Display (ICAD) is a multidisciplinary community that includes researchers with backgrounds in music, computer science, psychology, engineering, neuroscience, and the sonic arts. Although this multi-disciplinarity has been beneficial, it has also been the cause of clashes between scientific and artistic research cultures. This paper addresses this divide by proposing design research as a third and complementary approach that is particularly well aligned with the pragmatic and applied nature of the field. The proposal, called sonic information design, is explicitly founded on the design research paradigm. Like other fields of design, sonic information design aspires to make the world a better place, in this case through the use of sound. Design research takes a user-centered approach that includes participatory methods, rapid prototyping, iterative evaluation, situated context, aesthetic considerations, and cultural issues. The results are specific and situated rather than universal and general and may be speculative or provocative, but should provide insights and heuristics that can be reused by others. The strengthening and development of design research in auditory display should lay the path for future commercial applications.<\/jats:p>","DOI":"10.22501\/jss.514603","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:53Z","timestamp":1733149553000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonic Information Design"],"prefix":"10.22501","author":[{"family":"Stephen Barrass","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:53Z","timestamp":1733149553000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/514603\/514604"}},"issued":{"date-parts":[[2018,10,10]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/jss.514603","published":{"date-parts":[[2018,10,10]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:12Z","timestamp":1733202792250,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,5,2]]},"abstract":"Project R$4.00 proposes a study of the soundscapes of public rail transport in the metropolitan region of S\u00e3o Paulo. The author travelled with an audio recorder for more than three hours on the city\u2019s subway and train lines. The aim was to analyze the sound similarities and differences between the 12 city lines. This recording was transformed into a sound installation which uses binaural techniques to recreate the sound spatialization recorded inside the wagons.<\/jats:p>","DOI":"10.22501\/jss.863445","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:00Z","timestamp":1733149560000},"source":"Crossref","is-referenced-by-count":0,"title":["Rail Transport Soundscapes: Journeys in the Urban Space of S\u00e3o Paulo"],"prefix":"10.22501","author":[{"family":"Nicolau Centola","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:00Z","timestamp":1733149560000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/863445\/863446"}},"issued":{"date-parts":[[2020,5,2]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/jss.863445","published":{"date-parts":[[2020,5,2]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:12Z","timestamp":1733202792544,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,11,2]]},"abstract":"This article explores the relationship between home and the auditory through an examination of the \u201cShut Up Little Man!\u201d recordings \u2013 secret tapes made by two men of their next-door neighbors\u2019 fights. These recordings documented the vocal performances of an unheimlich domesticity, marked by poverty, violence, and what would become iconic phrases. Embraced as comedy, the tapes were traded and shared, gaining subcultural fan followings and broader popular cultural impacts. The \u201cShut Up Little Man!\u201d recordings thus offer crucial case study of the permeability of the domestic soundscape, the struggle of ownership over sounds at home, the ethics and politics of eavesdropping, and the intervention of media technologies in these dynamics. Ultimately, this article argues that the tapes\u2019 creation, power, and popularity stem from a desire to listen to the unheimlich home of the urban poor \u2013 a desire that underscores social distance, invites identification, and reminds us that proximity does not mean intimacy.<\/jats:p>","DOI":"10.22501\/jss.1407092","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:35Z","timestamp":1733149535000},"source":"Crossref","is-referenced-by-count":0,"title":["Overhearing the Unheimlich Home: Power and Proximity in \u201cShut Up Little Man!\u201d"],"prefix":"10.22501","author":[{"family":"Hannah Spaulding","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:35Z","timestamp":1733149535000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1407092\/1407093"}},"issued":{"date-parts":[[2021,11,2]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jss.1407092","published":{"date-parts":[[2021,11,2]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:30Z","timestamp":1733202750633,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2022,4,15]]},"abstract":"This article discusses the relationship between autobiographical memories and personal and group identities in the post-conflict soundscape of Sarajevo in Bosnia and Herzegovina. The discussion will focus on the perspectives of residents and their intersecting narratives, collected in interviews, on the city's soundscape. I will relay intimate experiences of the city's soundscapes, contextualized from the position of a listener who is native to the city. The ways in which memories of the recent war (1992-1996) inform conversations reveal links between traumatic memories and experiences of environmental sounds. From the religious calls of mosques and churches to inhabitants pleading for help on the streets of Sarajevo, the complexity of contexts that play a role in knowledge production about the city will be explored through listening and writing. The article, in the form of praxis, aims to accentuate the importance of local knowledge of soundscape as a means of decolonizing the sonic arts discourse. An interest in the ways that the city\u2019s inhabitants engage with contemporary soundscapes and how the past informs our present knowledge about places guides this inquiry.<\/jats:p>","DOI":"10.22501\/jss.1599648","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:38Z","timestamp":1733149538000},"source":"Crossref","is-referenced-by-count":0,"title":["Contextualities of Listening to Soundscapes: The Past and The Present Converging in Sarajevo"],"prefix":"10.22501","author":[{"family":"Maja Ze\u0107o","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:38Z","timestamp":1733149538000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1599648\/1599649"}},"issued":{"date-parts":[[2022,4,15]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/jss.1599648","published":{"date-parts":[[2022,4,15]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:30Z","timestamp":1733202750783,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"In Listening (2002) Jean-Luc Nancy proposes a philosophy that listens, one that does not arrive at static, definitive conclusions but continuously resonates and remains open. This essay conceptualizes an ethnography that listens by putting Nancy\u2019s thinking into play with texts that philosophically critique writing from different angles. By examining concepts of voice, speaking, the author, listening, and open work within writing practices, a polyvocal, nomadic concept of writing that listens emerges and points in many potential directions. One line of flight leads to ethnography, where the conflicts inherent in textualizing human representation continue to be examined and experimented with. In the second half of this essay, I propose one of many possible approaches to an ethnography that listens: ethnography of spin. In conscientiously, honestly, and openly writing the experience of getting spun \u2013 an integral part of mediated everyday experience in modernity \u2013 we offer texts that listen, resonate, echo, and can be transformed, remixed and re-mastered.<\/jats:p>","DOI":"10.22501\/jss.290439","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:17Z","timestamp":1733149577000},"source":"Crossref","is-referenced-by-count":0,"title":["CAUGHT IN THE CURRENT: WRITING ETHNOGRAPHY THAT LISTENS"],"prefix":"10.22501","author":[{"family":"Justin Patch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:17Z","timestamp":1733149577000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/290439\/290440"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.290439","published":{"date-parts":[[2018,6,27]]}},{"institution":[{"name":"Universitetet i Bergen","acronym":["UiB"],"place":["Bergen"],"department":["KMD"]}],"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T01:36:00Z","timestamp":1648776960596},"reference-count":0,"publisher":"Universitetet i Bergen KMD","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/kmd-ar.1197742","type":"report","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:37:59Z","timestamp":1623055079000},"source":"Crossref","is-referenced-by-count":0,"title":["Whole Waste Catalog"],"prefix":"10.22501","author":[{"given":"Raphael","family":"Perret","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,3,1]]},"deposited":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:38:00Z","timestamp":1623055080000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1197742\/1197743"}},"issued":{"date-parts":[[2021,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1197742","published":{"date-parts":[[2021,3,1]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:02Z","timestamp":1742358182644,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0025","type":"journal-article","created":{"date-parts":[[2019,12,27]],"date-time":"2019-12-27T20:56:38Z","timestamp":1577480198000},"source":"Crossref","is-referenced-by-count":0,"title":["Resenha do livro Christian Andersen and S\u00f8ren Bro Pold, \"The Metainterface. The Art of Platforms, Cities, and Clouds\""],"prefix":"10.22501","author":[{"given":"Yara","family":"Guasque","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,12,24]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:00Z","timestamp":1742292180000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/pt\/resenha-do-livro-christian-andersen-and-soren-bro-pold-metainterface-art-platforms-cities-and"}},"issued":{"date-parts":[[2019,12,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0025","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,12,24]]}},{"indexed":{"date-parts":[[2024,10,30]],"date-time":"2024-10-30T04:12:36Z","timestamp":1730261556716,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2024,10,29]]},"abstract":"This exposition brings together a collection of images, thoughts, and descriptions of the initial stages of a doctoral research project that explores the concept of 'notational actants': materially-focused, 3-dimensional objects intended for touch-based interpretation in musical performance. The majority of the content in this exposition was created during a one-month residency at Mustarinda (Hyrynsalmi, Finland).<\/jats:p>","DOI":"10.22501\/ruu.2182963","type":"journal-article","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T08:16:37Z","timestamp":1730189797000},"source":"Crossref","is-referenced-by-count":0,"title":["Notational actants: new musical approaches through the material score"],"prefix":"10.22501","author":[{"family":"AI Grayson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T08:16:38Z","timestamp":1730189798000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2182963\/2182964"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2182963","published":{"date-parts":[[2024,10,29]]}},{"indexed":{"date-parts":[[2025,1,23]],"date-time":"2025-01-23T05:22:01Z","timestamp":1737609721589,"version":"3.33.0"},"posted":{"date-parts":[[2020,12,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The transmission and communication of musical concepts and the ways in which they influence or interact with creativity are central to the ontology of music, but this aspect is rarely tackled head-on by musicians themselves. In language, the typical realm of semiotics and semantics, translation theory serves as an interesting and rich field for investigations into the nature of meaning and communication of meanings. In my research, I propose that the application of various translation theories to the field of music opens up new ways of exploring the \u201cmeanings\u201d of music, as well as new methodologies for creating musical novelties. To demonstrate this theory in practice, I have chosen to develop and apply translation theories to Evan Parker\u2019s solo soprano saxophone music and translate this music to my own solo double-bass playing, creating new and original solo music on the double-bass.<\/jats:p>","DOI":"10.22501\/rmc.783272","type":"posted-content","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:43:05Z","timestamp":1737542585000},"source":"Crossref","is-referenced-by-count":0,"title":["Charon as Muse - The Ferrying of Voices in Evan Parker\u2019s Solo Saxophone Music to the Double-Bass as Creative Authorship"],"prefix":"10.22501","author":[{"family":"Tom Blancarte","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:43:05Z","timestamp":1737542585000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/783272\/783273"}},"issued":{"date-parts":[[2020,12,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rmc.783272","published":{"date-parts":[[2020,12,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,19]],"date-time":"2024-12-19T05:26:38Z","timestamp":1734585998946,"version":"3.30.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2024,12,18]]},"abstract":"This paper examines emerging theories of perception and their relation to metabolic processes and presents the interactive installation Guilty Pleasures, informed by these theoretical principles. The metabolic nature of perception is particularly apparent in the experiences relating to the oral cavity, and this work explores this through an intra-oral electronic interface, combined with other modalities for enacting illusory sensations of eating, together with the exploration of the phenomenology of craving and the pica condition.<\/jats:p>","DOI":"10.22501\/hub.2809138","type":"journal-article","created":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T11:06:29Z","timestamp":1734347189000},"source":"Crossref","is-referenced-by-count":0,"title":["Guilty Pleasures: Immersive Art for the Oral Cavity"],"prefix":"10.22501","author":[{"family":"Luke Franzke","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Johannes Lucian Reck","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2024,12,18]],"date-time":"2024-12-18T14:48:59Z","timestamp":1734533339000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2809138\/2809139"}},"issued":{"date-parts":[[2024,12,18]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/hub.2809138","published":{"date-parts":[[2024,12,18]]}},{"indexed":{"date-parts":[[2025,7,2]],"date-time":"2025-07-02T15:10:09Z","timestamp":1751469009807,"version":"3.41.0"},"posted":{"date-parts":[[2025,7,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,7,2]],"date-time":"2025-07-02T00:00:00Z","timestamp":1751414400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This essay examines drawing as a consciously guided practice for fostering creative problem\u2010solving and idea generation. At its center lies the Sketch&Draw method, with its core principle of the \u201cfluttering line.\u201d Drawing on Stephen R. Covey\u2019s (1989) concept of the space between stimulus and response, Mih\u00e1ly Csikszentmih\u00e1lyi\u2019s (1990) flow theory, and Maurice Merleau\u2010Ponty\u2019s (1945) notion of embodiment, it develops\u2014via the Sketch&Draw method\u2014the central principle of the \u201cfluttering line.\u201d Through workshop analyses and practice sketches from sketchanddraw.com, it is evident how the visual noise of the fluttering line opens a mental space in which spontaneous impulses and effortless presence both set the creative process in motion and give it structure. Participant reports illustrate how these uncontrolled networks of strokes are later experienced as \u201cwhispered impulses\u201d that support the flow state. Finally, the essay discusses potentials, fields of application, and methodological limits in artistic, technical, and academic contexts, and outlines proposals for further empirical and interdisciplinary research.<\/jats:p>\n keywords: Drawing as Intentional Practice, Phenomenology of Drawing, Sketching Techniques, Fluttering Line, Visual Noise, Creative Space, Flow State, Embodied Cognition, Idea Generation, Creative Mindset, Sketch&amp;Draw, Sketchanddraw<\/jats:p>","DOI":"10.22501\/rc.3781894","type":"posted-content","created":{"date-parts":[[2025,7,2]],"date-time":"2025-07-02T14:47:02Z","timestamp":1751467622000},"source":"Crossref","is-referenced-by-count":0,"title":["Drawing as continously guided Practice: A Phenomenological Foundation of the Sketch&amp;Draw Method"],"prefix":"10.22501","author":[{"family":"Tanja K. Hess","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,7,2]],"date-time":"2025-07-02T14:47:02Z","timestamp":1751467622000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3781894\/3781893"}},"issued":{"date-parts":[[2025,7,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3781894","published":{"date-parts":[[2025,7,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,9,11]],"date-time":"2025-09-11T17:33:33Z","timestamp":1757612013068,"version":"3.44.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2025,9,4]],"date-time":"2025-09-04T00:00:00Z","timestamp":1756944000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uis"],"published-print":{"date-parts":[[2025,9,4]]},"abstract":"Halldis R\u00f8nning's artistic research contributes to the field of conducting, transdisciplinarity and listening practices. She seeks to open the traditional conductor's role towards co-creative practices and find new artistic expressions of conducting. Can conducting be conceptual art? Can it be performance or dance? How can it relate to visual art? \nHer motivation to open up the role is rooted in a wish to deepen her listening practice as a conductor. This deepening includes creative, spatial, embodied, visual, imaginary and relational listening. Listening as artistic quality and as artistic process. \nThe work starts in the experimental art field and ends up in the Concert Hall with Stavanger Symphony Orchestra. There is a feministic context to the research and she touches upon topics such as mutual exchange, space to create, agency and control. \nBut also the conducting body as an expression in itself, in relation to nature or an orchestra.<\/jats:p>\n keywords: Conducting, dance conducting, post-conducting, experimental conducting, symphony orchestra, co-creation, co-composition, listening practices, mutual exchange, conceptual conducting, orchestral performance, Orchestra, orchestra conducting, being conducted, embodied listening, embodied conducting, Alexander Technique, deep listening, Video art, composition, graphic notation, site-spesific composition, creative agency, technology for conductors, feministic ethics of conducting<\/jats:p>","DOI":"10.22501\/uis.2036504","type":"journal-article","created":{"date-parts":[[2025,9,4]],"date-time":"2025-09-04T06:14:20Z","timestamp":1756966460000},"source":"Crossref","is-referenced-by-count":0,"title":["Meditations on Listening, a creative exploration of the conductor's role and a development towards a post-conducting practice"],"prefix":"10.22501","author":[{"family":"Halldis Ronning","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Stavanger"],"language":"en","deposited":{"date-parts":[[2025,9,4]],"date-time":"2025-09-04T06:14:21Z","timestamp":1756966461000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2036504\/2036505"}},"issued":{"date-parts":[[2025,9,4]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/uis.2036504","published":{"date-parts":[[2025,9,4]]}},{"indexed":{"date-parts":[[2025,10,9]],"date-time":"2025-10-09T00:33:31Z","timestamp":1759970011361,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This concise study guide introduces the foundational framework of Post-Interpretive Criticism (PIC)\u2014a new aesthetic philosophy that centers presence, moral proximity, and restraint in the practice of art criticism. Developed by Dorian Vale, the guide breaks down PIC into five core principles:\n\nRestraint over Interpretation\n\nWitness over Commentary\n\nMoral Proximity over Objectivity\n\nViewer as Evidence\n\nRejection of Performance\n\nEach principle is accompanied by a brief case study, reflection exercise, and ethical commentary, making this guide suitable for students, educators, curators, and critics seeking to apply PIC in the field. Instead of decoding the artwork, this framework encourages a posture of reverent presence, allowing the artwork to retain its autonomy and moral gravity.\n\nThis resource is designed to be taught, discussed, and practiced. It supports classrooms, curatorial programs, writing workshops, and museum education\u2014inviting a new generation of viewers to approach art with humility, silence, and philosophical depth.\n\nVale, Dorian. Five Principles of Post-Interpretive Criticism: A Study Guide. Museum of One, 2025. DOI: 10.5281\/zenodo.17077734\n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)\n\nPost-Interpretive Criticism, study guide, art education, critical theory, Dorian Vale, aesthetic philosophy, viewer as evidence, slow looking, ethical criticism, trauma in art, art pedagogy, witness-based art criticism, art classroom resource, art and ethics, moral proximity, presence over interpretation, contemporary criticism, museum education, poetic criticism, art curriculum<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Visual Culture Studies, Epistemology of Art, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Language as Custody, Interpretation vs. Witnessing, Museum of One Manifesto, Erasure as Afterlife, Post-Interpretive Lexicon, Interpretive Restraint, Witness over interpretation, Radical art restraint, Quiet philosophy of art, Slow looking philosophy, Criticism beyond interpretation, Ethical art theory, New art criticism movement, Alternative art criticism, Fine Arts, fine art, art criticism, art critics, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, https:\/\/www.semanticscholar.org\/author\/Dorian-Vale\/2380743266, https:\/\/zenodo.org\/communities\/post-interpretive-criticism<\/jats:p>","DOI":"10.22501\/rc.3921610","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T09:56:19Z","timestamp":1759917379000},"source":"Crossref","is-referenced-by-count":0,"title":["Five Principles of Post-Interpretive Criticism: A Study Guide"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T09:56:19Z","timestamp":1759917379000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921610\/3921609"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921610","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,24]],"date-time":"2025-10-24T14:36:33Z","timestamp":1761316593201,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,24]],"date-time":"2025-10-24T00:00:00Z","timestamp":1761264000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The concept of spatial context is often presented and visualized commonly through its relation to the built environment. Its significance predominantly plays a fundamental role in understanding the world and forming relations between various diverse experiences, and interpretations of reality. These influences, in which knowledge is produced and transformed by inhabiting the process of being seen, felt, and perceived, overlap where the notion of time unfolds intricate reflections of itself regarding happenings, entities, and physical elements.By exploring the spatial context in a non-linear timeline, it is possible to identify unique hidden dimensions that enrich the understanding of the totality that is related to spaces and their surroundings. This nonlinearity is achievable through the phenomenological understanding of lived spaces which brings mental, physical, and sensory, at the same time largely subjective realities to conceivable participation. With these guidelines, this research consists of an artistic exploration that aims to visually investigate artistic methods and processes of revealing extended visual qualities of mental space, and what type of connections are intertwined within its architectonic surroundings.My aim is to phenomenologically uncover hidden dimensions inherited within mental space. Therefore I destabilize conventional meanings of space by visually exploring and rendering the mental and emotional geographies that shape our lived experience, internalizing and revealing the constructedness of mental spatiality through an artistic process that reflects psychogeographic embodying. By challenging linear and objective representations of space by engaging in an artistic exploration of mental and emotional landscapes, I unfold non-linear timelines, subjective lived experiences, and the overlaps of perception and time, where memory and the present co-narrate within us.<\/jats:p>\n keywords: Keywords: spatial, artistic, mental space, consciousness, phenomenology, architectonic, spatial, phenomenology, mental space, artistic research, psychogeography, architectonic, consciousness, visual art, emotional space, mental representation, Mental image<\/jats:p>","DOI":"10.22501\/rc.3946684","type":"posted-content","created":{"date-parts":[[2025,10,24]],"date-time":"2025-10-24T14:31:01Z","timestamp":1761316261000},"source":"Crossref","is-referenced-by-count":0,"title":["mental space embodiments"],"prefix":"10.22501","author":[{"family":"\u00e7ifel \u00e7ifel","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,24]],"date-time":"2025-10-24T14:31:01Z","timestamp":1761316261000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3946684\/3946685"}},"issued":{"date-parts":[[2025,10,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3946684","published":{"date-parts":[[2025,10,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:08Z","timestamp":1727196008083},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,4]]},"abstract":"Name: Nuno Galego Marques Atalaia Rodrigues\n\nMain Subject: Recorder\n\nResearch Coaches: Paul Scheepers and Rebecca Stewart\nTitle of Research: Ganassi as researcher, Practice based research and new horizons for HIP\n\nResearch Question: What changes when I start reading treatises of the past as the result of a practice based research not unlike my own?\n\nResearch process: The following questions have guided my research and relationship with the XVII century recorder treatise La Fontegara: Was Ganassi an artistic researcher? Can his 1535 treatise, La Fontegara, be thought of as the result of sixteenth century practice based research? What will change in our relationship to documents of the past once we look at them as analogous to our own artistic concerns? What could this understanding of artistic research as a trans-historic event mean for Early Music in particular?\nMy research and thesis leads me to a close reading of Ganassi\u2019s recorder and diminution treatise La Fontegara, trying to go beyond the text and its possible literal meanings and tracing the lost instrumental practice of diminution. With this first treatise of its kind, Ganassi inaugurates an age of instrumental literacy, which has irrevocably shaped our perception of musical practice.\nBy linking the document to its biographical, social, theoretical and practical roots I try to sketch out the possible influences and projects (both political and artistic), which took part in making this work possible, helping to understand the trans-historic significance of research in defining a place for the artist within broader society. Also, I take the chance to reflect how this critical intimacy I establish with the work changes the very core of my identity as a recorder player by shaping my practice as a dialogue with a distant and mostly silent past.\nSummary of Results: The goal of this research is to stress the importance of research in the arts in redefining the role of the musician within society and of opening up a new wave of debate with which to vitalize the historically informed performance movement. Ganassi\u2019s La Fontegara is a document that holds a far greater importance than that of a simple recorder tutor, which positioned it as the first document in the project of emancipation of instrumentalists and their music. Furthermore, the document should be seen as a vital part of the XVII century propaganda project of diffusing the myth of Venice through its use of speculative music tropes such as the theory of proportions. FInally, I wish to rethink our present relationship to these documents as performers. They were not musical cookbooks but rather crystallizations of a continuous struggle between the performer\u2019s knowledge and his need to describe it. To read La Fontegara, is to go beyond the treatise and speculate on the oral practice from which it stems.<\/jats:p>","DOI":"10.22501\/koncon.88835","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:50:04Z","timestamp":1725922204000},"source":"Crossref","is-referenced-by-count":0,"title":["Fontegara as researcher"],"prefix":"10.22501","author":[{"family":"Nuno Atalia","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:54Z","timestamp":1727193534000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/88835\/88836"}},"issued":{"date-parts":[[2014,9,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.88835","published":{"date-parts":[[2014,9,4]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:02Z","timestamp":1727196002514},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,8,29]]},"abstract":"VARIOUS WRITINGS: CHAPTER I \nThere are rumours that writing will cease, books will die, the digital eye will take over. Standing at the edge of this precipice we look away from these preoccupations. Instead we look back, investigating the act of writing through systematic consideration, attempting to disregard all preconceptions. This exposition focuses on the gestural and uses Vil\u00e9m Flusser\u2019s concept of \u2018pseudo writing\u2019, to analyse the interaction between the physical actions and the technologies of writing. \nThe first act of Various Writings\u2019 was a response to Vil\u00e9m Flusser\u2019s text The Gesture of Writing. This text radicalised our ideas on what constitutes research and thematised the conditions of sharing in \u2018other\u2019 terms. Flusser meticulously disassembles the act of writing. We follow in his footsteps, using personal mythologies, Oulipian constraints \/ translations, taxonomies and non-verbal conversations as implements to excavate relics of writing. We collect codes, tools, surfaces; test writing against various technologies and translate it into movements, attitudes and objects.<\/jats:p>","DOI":"10.22501\/ruu.364566","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T15:49:12Z","timestamp":1538236152000},"source":"Crossref","is-referenced-by-count":0,"title":["Various Writings: Chapter One"],"prefix":"10.22501","author":[{"family":"Dion Star","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Lizzie Ridout","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Maria Christoforidou","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:41Z","timestamp":1727193761000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/364566\/364567"}},"issued":{"date-parts":[[2018,8,29]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/ruu.364566","published":{"date-parts":[[2018,8,29]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:01Z","timestamp":1727194201543},"posted":{"date-parts":[[2024,2,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Recording and Sound Landscape Developments<\/jats:p>","DOI":"10.22501\/rc.2443987","type":"posted-content","created":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T18:58:15Z","timestamp":1708628295000},"source":"Crossref","is-referenced-by-count":0,"title":["Recording and Sound Landscape Developments"],"prefix":"10.22501","author":[{"family":"Natasha Barrett","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:33Z","timestamp":1727192493000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2443987\/2443988"}},"issued":{"date-parts":[[2024,2,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2443987","published":{"date-parts":[[2024,2,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:01Z","timestamp":1727194201788},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,10,28]]},"abstract":"Espa\u00f1ol\n\nEn la propuesta se reflexiona sobre las implicancias de concebir obras art\u00edsticas en conjunto con seres vivientes no-humanxs y las problem\u00e1ticas y particularidades que esto conlleva. Asimismo, se propone la terminolog\u00eda de biopo\u00e9tica como alternativa nominal al concepto antropoc\u00e9ntrico y problem\u00e1tico del bioarte desde una concepci\u00f3n m\u00e1s locativa y contextual. Se pretende visualizar las metodolog\u00edas y los accionares de la materia viva desde el arte contempor\u00e1neo latinoamericano y repensar tanto las pr\u00e1cticas como los modos de exhibici\u00f3n.\n\nEnglish\n\nThe proposal reflects on the implications of conceiving artistic works in conjunction with non-human living beings, as well as the problems and particularities that this entails. It proposes the biopoetics terminology as a nominal alternative to the anthropocentric and problematic concept of bioart from a more locative and contextual conception. It is intended to visualize methodologies and actions of living matter from contemporary Latin American art rethinking both practices and modes of exhibition.<\/jats:p>","DOI":"10.22501\/jar.949972","type":"journal-article","created":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T10:06:00Z","timestamp":1666951560000},"source":"Crossref","is-referenced-by-count":0,"title":["Biopo\u00e9ticas: convergencias art\u00edsticas interespecie"],"prefix":"10.22501","author":[{"family":"ANA LAURA CANTERA","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:37Z","timestamp":1727193097000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/949972\/949973"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jar.949972","published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:04Z","timestamp":1727194204148},"posted":{"date-parts":[[2024,8,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Case study - AI Week at Robert Gordon University, Aberdeen.\n\nStaff share their experience of running RGU\u2019s first AI week, which was held in October 2024 at Gray\u2019s School of Art in collaboration with School of Computing. This online case study provides insights from workshops and discussions covering Gen AI, its ethics, its implications as\/within art, and its role within learning\/production processes.<\/jats:p>","DOI":"10.22501\/rc.2865856","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T15:37:47Z","timestamp":1725550667000},"source":"Crossref","is-referenced-by-count":0,"title":["Interdisciplinary Exploration of AI within a University setting"],"prefix":"10.22501","author":[{"family":"Helen Scarlett O'Neill","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:40:53Z","timestamp":1727192453000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2865856\/2934896"}},"issued":{"date-parts":[[2024,8,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2865856","published":{"date-parts":[[2024,8,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:09Z","timestamp":1727194209884},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Hugo Rodr\u00edguez Arteaga\n\nMain Subject: Baroque Bassoon\n\nResearch Supervisor: Johannes Boer \n\nTitle of Research: Investigating smaller bassoons from the XVIII and XIX centuries, with practical performance on a Baroque fagottino \n\nResearch Question: \n\nIs there a (lost) tradition using these instruments in the XVIII and XIX centuries? What are the musical and technical advantages and disadvantages of performing a piece with fagottino?\n\nSummary of Results:\n\nThe idea of this study was to collect information about smaller-sized bassoons found in the XVIII and XIX centuries. Berlioz talks about the \"quint bassoon\", and other \"fagottino\" in his treatise about orchestration, and smaller bassoons called \"tenor\", \"octave\", and \"quart\" are described in James Kopp's book, The Bassoon. Today the modern \"fagottino\" is used to teach children, as the modern bassoon is too big and too heavy, but historical models have been strangely ignored in early music performance practice. Is there a (lost) tradition using these instruments in the XVIII and XIX centuries? What are the musical and technical advantages and disadvantages of performing a piece with fagottino? This research project is a mixed work: the written part has background information about instruments, titles and performers. A description of practical experimentation approaching one work with fagottino, as well as the observation of a young player\u2019s first confrontation with the instrument is included. \n\nBiography: \n\nHugo Rodr\u00edguez Arteaga began studying bassoon in Santa Cruz de Tenerife, Spain, in 1999 with Prof. Maximiano Vera. In 2007 he started studies at the Conservatorio Superior de Canarias with Ana S\u00e1nchez Clemente and finished with honors. He has played in ensembles as Orchestra of the 18th Century, Die K\u00f6lner Akademie, MusicAEterna, Capella Cracoviensis, Lutherse Bach Orchester, Les Vents Atlantiques, Orquesta Sinf\u00f3nica de Galicia, Vox Luminis and more several groups. He has worked together with such conductors as Frans Br\u00fcggen, Teodor Currentzis, James Coonlon, Rinaldo Alessandrini, Alfredo Bernardini, Marcus Creed, Kenneth Montgomery, Alessandro de Marchi, Michael Alexander Willems and Pietro Rizzo. Currently he is studying historical bassoons at the Royal Conservatoire in The Hague with Donna Agrell, as well as orchestral conducting with Kenneth Montgomery, Alex Schillings and Jac van Steen. He is active as a historical and modern bassoonist with different period and symphony orchestras all over Europe.<\/jats:p>","DOI":"10.22501\/koncon.236269","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:45:08Z","timestamp":1725921908000},"source":"Crossref","is-referenced-by-count":0,"title":["Investigating smaller bassoons from the XVIII and XIX centuries, with practical performance on a Baroque fagottino"],"prefix":"10.22501","author":[{"family":"Hugo Rodriguez Arteaga","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:47Z","timestamp":1727193467000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/236269\/343124"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.236269","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2025,8,23]],"date-time":"2025-08-23T10:40:03Z","timestamp":1755945603879,"version":"3.44.0"},"posted":{"date-parts":[[2025,8,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,8,23]],"date-time":"2025-08-23T00:00:00Z","timestamp":1755907200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A document of abstracts of artistic projects published by the author in the Research Catalogue between 2021 and 2025<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3819770","type":"posted-content","created":{"date-parts":[[2025,8,23]],"date-time":"2025-08-23T10:07:41Z","timestamp":1755943661000},"source":"Crossref","is-referenced-by-count":0,"title":["Abstracts of artistic projects by Michael Croft published in the Research Catalogue (2021 \u2013 2025)"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,8,23]],"date-time":"2025-08-23T10:07:41Z","timestamp":1755943661000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3819770\/3819771"}},"issued":{"date-parts":[[2025,8,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3819770","published":{"date-parts":[[2025,8,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:30Z","timestamp":1759335150349,"version":"build-2065373602"},"posted":{"date-parts":[[2023,4,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,4,5]],"date-time":"2023-04-05T00:00:00Z","timestamp":1680652800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Z\u00f6 Kramers was an orchestra in a mix of punk, reggae, ska, marching music, blues, pop, rock but not jazz.\n\nParticipating in various roles:\n\nCalle Ottestam \/ bass, vocals, lyrics, music\nPer Sommarstr\u00f6m \/ guitar, vocals, lyrics, music\nMartin F\u00e4lthammar \/ drums, text\nOlof Halldin guitar, keyboard, music, voice, percussion, mixing\nMikael S\u00f6dersten \/ keyboard, vocals, lyrics, music\n\nin addition\n\nPeter S\u00f6derblom \/ synth\nPersa Jacobson \/ text\nKatte Salomon \/ song\n\nJoakim Pirinen has drawn and written texts\n\nFor individual bets - click on \"Vilka Vem N\u00e4r Var Hur Vad\".\n\nHistory:\nZ\u00f6 Kramer's original composition was Calle Ottestam, Per Sommarstr\u00f6m, Olle Halldin, Martin F\u00e4lthammar and initially Peter S\u00f6derblom. Added after about a year did Mikael S\u00f6dersten. First on drums was Jolly Bod but was soon replaced by Martin. Katte Salomon also sang on the recordings from 1983. Music and lyrics were written by the band members but lyrics were also written by Joakim Pirinen and Persa Jacobson.\n\nThe band's first name was \"Arne & his anabolic steroids\". The name \"Z\u00f6 Kramers\" comes from Kramer-Pollnow's hyperkinetic syndrome - (dance disease) a psychotic condition characteristic of the band's dance-inspired style. Between 1978-1983, about forty songs were written. About twenty concerts were mostly held on Liding\u00f6. The band's biggest \"hit\" was Tyska marionetter (German puppets).\n\nLive recordings have been available since the beginning and about 25 concerts were performed, but more studio mixes were made in four rounds where the first was done in 1979. Recording was done with a four-channel TEAC tape recorder and TEAC mixer table. Sound improvements were made in 2002 at the same time as digitization and in 2020 before the launch of this website.<\/jats:p>\n keywords: Punkrock, Reggae, Ska, New Wave, Arne och hans anabola steroider, Carl Ottestam, Per Sommarstr\u00f6m, Olof Halldin, Martin F\u00e4lthammar, Mikael S\u00f6dersten, Punk, Musik, Joakim Pirinen, Z\u00f6 Kramers, The Kramers, Liding\u00f6<\/jats:p>","DOI":"10.22501\/rc.1067723","type":"posted-content","created":{"date-parts":[[2023,2,26]],"date-time":"2023-02-26T10:05:11Z","timestamp":1677405911000},"source":"Crossref","is-referenced-by-count":0,"title":["Z\u00f6 Kramers 1978-1983"],"prefix":"10.22501","author":[{"family":"Olof Halldin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:15Z","timestamp":1759302615000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1067723\/1183719"}},"issued":{"date-parts":[[2023,4,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1067723","published":{"date-parts":[[2023,4,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:21:56Z","timestamp":1725927716603},"posted":{"date-parts":[[2024,9,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"very abstract<\/jats:p>","DOI":"10.22501\/rc.2993685","type":"posted-content","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T20:41:55Z","timestamp":1725914515000},"source":"Crossref","is-referenced-by-count":0,"title":["mijn liefje shivani"],"prefix":"10.22501","author":[{"family":"truckspotter.2000","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T21:37:12Z","timestamp":1725917832000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2993685\/2993686"}},"issued":{"date-parts":[[2024,9,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2993685","published":{"date-parts":[[2024,9,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T14:42:13Z","timestamp":1765464133175,"version":"3.48.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","license":[{"start":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T00:00:00Z","timestamp":1765411200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,12,11]]},"abstract":"In this half paper, half soliloquy, I aim to propose re-enactment as a research method. Through textual analysis and situated reflections, I will explore the potential of re-enactments in performative returning to destabilize and reconfigure canonical understandings of the past, and consider any implications this understanding of re-enactment can have within research approaches<\/jats:p>\n keywords: Re-enactment, Performance, Performativity, PHOTOGRAPHY, Research, citationality, art as research<\/jats:p>","DOI":"10.22501\/ruu.2878712","type":"journal-article","created":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T14:32:22Z","timestamp":1765463542000},"source":"Crossref","is-referenced-by-count":0,"title":["Re-enactment as Research, A monologue"],"prefix":"10.22501","author":[{"family":"Clare Bottomley","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T14:32:23Z","timestamp":1765463543000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2878712\/2878713"}},"issued":{"date-parts":[[2025,12,11]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2878712","published":{"date-parts":[[2025,12,11]]}},{"indexed":{"date-parts":[[2025,5,16]],"date-time":"2025-05-16T04:05:47Z","timestamp":1747368347822,"version":"3.40.5"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T00:00:00Z","timestamp":1747267200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ntnu"],"published-print":{"date-parts":[[2025,5,15]]},"abstract":"By experimenting with the use of artificial intelligence and collaborative storytelling in public engagement with sustainability challenges, the Futuring Together group, through an interactive installation \"Playing Future Narratives\" at Artistic Research Week 2024 (22nd - 27th October 2024) at the Norwegian University of Science and Technology, explored how AI-enhanced collaborative narrative creation augmented with a visual essay could facilitate understanding of energy transition futures in Trondheim, Norway. \n\nThe installation utilized ScenSyn, a multiplayer interactive storytelling system combining AI-assisted narrative generation with human creativity, together with a visual essay highlighting the complexities and contradictions inherent in the energy transition.\n\nThe project provided an opportunity to test how AI-enhanced collaborative storytelling might offer unique opportunities for exploring complex societal transitions and raised important questions about the role of artificial intelligence in creative processes and public discourse.<\/jats:p>\n keywords: Artificial Intelligence, Collaborative Storytelling, Interactive Narratives, Human-AI Collaboration, Energy Transition, Sustainability, Design Fiction, Futuring, arw, artistic research week, ntnu, ad, KiT<\/jats:p>","DOI":"10.22501\/ntnu.3247260","type":"journal-article","created":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T12:09:45Z","timestamp":1747310985000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing Future Narratives"],"prefix":"10.22501","author":[{"family":"Futuring Together","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Kristian Byskov Rasmussen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Margarita Torrijos Krag","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ysabel Munoz","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Norwegian University of Science and Technology"],"language":"en","deposited":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T12:09:46Z","timestamp":1747310986000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3247260\/3247261\/512"}},"issued":{"date-parts":[[2025,5,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ntnu.3247260","published":{"date-parts":[[2025,5,15]]}},{"indexed":{"date-parts":[[2025,4,29]],"date-time":"2025-04-29T04:02:12Z","timestamp":1745899332044,"version":"3.40.4"},"posted":{"date-parts":[[2025,4,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,28]],"date-time":"2025-04-28T00:00:00Z","timestamp":1745798400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Spr\u00e5ktap er en vanlig konsekvens av okkupasjon, fordriving og flukt. I Halo of Shame utforsker Shwan Dler Qaradaki hvordan den politiske undertrykkelsen av kurdisk \u2013 hans morsm\u00e5l - har formet hans kunstneriske praksis. Med inspirasjon fra b\u00e5de vestlig klassisk kunst og islamsk miniatyrkunst skaper han et visuelt uttrykk som balanserer mellom \u00f8st og vest, fortid og n\u00e5tid, objekt og subjekt. Gjennom dette arbeidet utvikler han et dekolonialt bildespr\u00e5k som kan romme de komplekse lagene av identitet, erfaring og motstand.\n\n\nVeiledere:\nTiril Schr\u00f8der: 2021-2025\nMerete R\u00f8stad: 2021-2023\nAne Hjort Guttu: 2023-2025\n\n\nWeb disegner: Ellen Palmeira\nBilder, video, tekst og tegninger: Shwan Dler Qaradaki<\/jats:p>\n keywords: Spr\u00e5k, Undertrykkelse, Kolonialisme, Spr\u00e5ktap, Muntlige, fortellinger, Akvarell, Tegning, Blyant, Eksil, Rasisme, Utenforskap, Identitet, Minne, Motstand, Tilpasning, Traume, Flukt, Historiefortelling, Dekolonialisering, Symbolikk, Kulturell arv, Erfaring, Kunstnerisk spr\u00e5k, Oversettelse, Sensur, Visuell poesi, Migrasjon, Sorg, Hjeml\u00f8shet, Tilh\u00f8righet<\/jats:p>","DOI":"10.22501\/rc.3154537","type":"posted-content","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T14:35:57Z","timestamp":1743690957000},"source":"Crossref","is-referenced-by-count":0,"title":["Halo of Shame"],"prefix":"10.22501","author":[{"family":"Dler Mariam Dalo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,4,28]],"date-time":"2025-04-28T09:38:08Z","timestamp":1745833088000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3154537\/3215996\/30\/30"}},"issued":{"date-parts":[[2025,4,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3154537","published":{"date-parts":[[2025,4,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T16:40:07Z","timestamp":1752511207962,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","license":[{"start":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T00:00:00Z","timestamp":1752451200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,7,14]]},"abstract":"This video essay discusses how contemporary artists might directly address some of the philosophical and political challenges of a material approach to instrumentality through creative practice. I present and discuss the practical approaches taken by musicians who create and collaborate with instruments as a central part of their work: Khabat Abas and Sam Underwood. In examining their creative practice both creating and working with musical instruments, I examine how these artists navigate the agential and material aspects of the instruments and systems they create, in parallel with the conceptual ideas that they bring to and derive from such systems.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/jss.3774420","type":"journal-article","created":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T16:18:57Z","timestamp":1752509937000},"source":"Crossref","is-referenced-by-count":0,"title":["Materiality as a Creative Practice of Musical Instruments: Makers\u2019 Perspectives"],"prefix":"10.22501","author":[{"family":"Lauren Redhead","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T16:18:57Z","timestamp":1752509937000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3774420\/3774421"}},"issued":{"date-parts":[[2025,7,14]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jss.3774420","published":{"date-parts":[[2025,7,14]]}},{"indexed":{"date-parts":[[2025,5,23]],"date-time":"2025-05-23T04:08:56Z","timestamp":1747973336746,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,22]],"date-time":"2025-05-22T00:00:00Z","timestamp":1747872000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,22]]},"abstract":"Two of the oldest manuscripts containing trumpet music lie in the Royal Danish Library and were both written in Denmark around the year 1600. They contain hundreds of fanfare-like melodies with little explanation as to how, why, or where they should be played. Written by trumpeters with limited musical education, the manuscripts present a unique challenge in deciphering distinct and personal notation styles. The aim of this research is to shed a new light on the so-called Thomsen and L\u00fcbeck manuscripts by stepping into the shoes of the trumpeters of the late renaissance and early baroque. The court of Christian IV (1577-1648), King of Denmark and Norway, was one of the most influential courts of early 17th century Europe and employed a respectable number of at least 123 trumpeters throughout Christian\u2019s 60 year reign. By examining the role and duty of those trumpeters, as well as the culture around trumpet playing in the 16th and 17th centuries we gain a new insight into the festive, vigorous, and loud music of the royal courts. Improvisation plays a big part in interpreting the Danish manuscripts. By applying improvisation techniques described by Italian and German trumpeters in the 17th century, as well as considering the capabilities and limitations of historical instruments, new life is brought to fanfares which might appear monotonous and repetitive at first glance.<\/jats:p>\n keywords: Trumpet, Denmark, 17th century, improvisation, 16thcentury, baroque trumpet, natural trumpet<\/jats:p>","DOI":"10.22501\/koncon.3197849","type":"journal-article","created":{"date-parts":[[2025,5,22]],"date-time":"2025-05-22T09:51:11Z","timestamp":1747907471000},"source":"Crossref","is-referenced-by-count":0,"title":["Trumpeting at the Court of Christian IV"],"prefix":"10.22501","author":[{"family":"\u00d3lafur Elli\u00f0i Halld\u00f3rsson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,5,22]],"date-time":"2025-05-22T09:51:11Z","timestamp":1747907471000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3197849\/3197850"}},"issued":{"date-parts":[[2025,5,22]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3197849","published":{"date-parts":[[2025,5,22]]}},{"indexed":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:35:15Z","timestamp":1761665715006,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"36","license":[{"start":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T00:00:00Z","timestamp":1761609600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,28]]},"abstract":"ES: \u00bfExiste un enfoque, principio o disposici\u00f3n de la investigaci\u00f3n art\u00edstica que d\u00e9 unidad a los elementos heterog\u00e9neos que la conforman (diferentes procedencias disciplinares y enfoques epistemol\u00f3gicos) y le confiera car\u00e1cter propio? Ese proceder, se propone aqu\u00ed, es el especulativo. Desde la danza y mediante ejercicios coreogr\u00e1ficos, se quiere hallar descripci\u00f3n de lo que ser\u00eda una especulaci\u00f3n est\u00e9tica, aquella que considerar\u00eda al acto de creaci\u00f3n como parte del proceso del pensar. Con tal prop\u00f3sito, se desarrolla una propuesta acerca del amor y, espec\u00edficamente, el\u00a0eros,\u00a0entendido como disposici\u00f3n frente a lo que se quiere investigar; a\u00f1adiendo que esta disposici\u00f3n es tambi\u00e9n la fuerza que re\u00fane todos los aspectos de la investigaci\u00f3n. La acci\u00f3n especulativa est\u00e9tica ser\u00eda el proceder investigativo del amor que une la dimensi\u00f3n poi\u00e9tica (creativa-imaginativa) y la gnoseol\u00f3gica en la investigaci\u00f3n\u00a0en\u00a0las artes.EN: Is there an approach, principle or disposition of artistic research that gives unity to the heterogeneous elements that comprise it (different disciplinary origins and epistemological approaches) and gives it its own character? This procedure, it is proposed here, is speculative. From dance and through choreographic exercises, we seek to find a description of what would be an aesthetic speculation, one that would consider the act of creation as part of the thinking process. To this end, a proposal is developed about love and, specifically, eros, understood as a disposition towards what we want to investigate; adding that this disposition is also the force that brings together all aspects of research. The aesthetic speculative action would be the investigative procedure of love that unites the poietic (creative-imaginative) and gnoseological dimensions in research in the arts.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=3955500&file=3955527\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/span><\/jats:p>\n keywords: investigaci\u00f3n art\u00edstica, especulaci\u00f3n, est\u00e9tica, danza, eros, artistic research, speculation, aesthetics, dance<\/jats:p>","DOI":"10.22501\/jar.3820122","type":"journal-article","created":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:28:40Z","timestamp":1761665320000},"source":"Crossref","is-referenced-by-count":0,"title":["El trabajo especulativo en la investigaci\u00f3n art\u00edstica - cuaderno de notas"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-5551-5659","authenticated-orcid":false,"family":"Sara Gomez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:28:41Z","timestamp":1761665321000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3820122\/3820123\/229"}},"issued":{"date-parts":[[2025,10,28]]},"references-count":0,"journal-issue":{"issue":"36"},"URL":"https:\/\/doi.org\/10.22501\/jar.3820122","published":{"date-parts":[[2025,10,28]]}},{"indexed":{"date-parts":[[2025,11,17]],"date-time":"2025-11-17T10:38:52Z","timestamp":1763375932371,"version":"3.45.0"},"posted":{"date-parts":[[2025,11,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,17]],"date-time":"2025-11-17T00:00:00Z","timestamp":1763337600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"My doctoral research project explores the use of language and the production of meaning in singing, more specifically in collective vocal improvisation. When we sing together improvising, how do we use language? And how can a different use of language in a community of singers innovate our musical practice? In \u00abRe-voicing the Text. A Collective Practice of Vocal Improvisation\u00bb, the line between a research presentation and a collective performance is blurred, as well as the boundary between doing research and sharing research. During this session, participants sang together and reflected out loud with me, and I with them, on our native languages and the way a certain use of language might induce us to conceive time in music differently. Our exploration began with Mentre (\u201cWhile\u201d), a short text by Giorgio Agamben, in which the philosopher proposes using language\u2014and adverbs in particular\u2014as a way of rethinking time.<\/jats:p>\n keywords: voice, language, voice and language, vocal improvisation, Collective improvisation, time, grammar, singing, Speaking, song and speech<\/jats:p>","DOI":"10.22501\/rc.3872930","type":"posted-content","created":{"date-parts":[[2025,11,17]],"date-time":"2025-11-17T10:36:00Z","timestamp":1763375760000},"source":"Crossref","is-referenced-by-count":0,"title":["A Time of Unfulfilled Expectations"],"prefix":"10.22501","author":[{"family":"Miriana Faieta","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,17]],"date-time":"2025-11-17T10:36:01Z","timestamp":1763375761000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3872930\/3872931"}},"issued":{"date-parts":[[2025,11,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3872930","published":{"date-parts":[[2025,11,17]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:46:07Z","timestamp":1767095167150,"version":"3.48.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,12,30]]},"abstract":"Queer-identiteetti ja -tunteet lavalla, sen takana ja opetusty\u00f6ss\u00e4Kuvataiteen tohtorin opinn\u00e4ytety\u00f6ss\u00e4ni tutkin queer-kuuntelemisen merkityst\u00e4 taiteellisena k\u00e4yt\u00e4nt\u00f6n\u00e4 ja tutkimusmenetelm\u00e4n\u00e4. T\u00e4ss\u00e4 ekspositiossa haastattelen drag alter egoani Maimu Brushwoodia, jonka kanssa keskustelen sukupuolesta, tunteista ja pedagogiikasta. Haastattelu perustuu tutkimukseni toiseen taiteelliseen osuuten, mik\u00e4 oli drag-esitys, jonka esitin kahtena iltana Club Kiihko: Uuden toivon illassa Kulttuurikeskus Caisassa Helsingiss\u00e4 27. ja 28.6.2024.Ekspositiossa on haastattelun lis\u00e4ksi drag-esityksen videotallenne ja kirjoitusteht\u00e4v\u00e4, jonka tarkoitus on syvent\u00e4\u00e4 esitykseni teemoja.<\/jats:p>\n keywords: queer, feminist pedagogy, queer pedagogy, drag, performance, artistic research, art pedagogy, pedagogy, autobiography, camp, shame, h\u00e4pe\u00e4, pedagogia, taiteilijapedagogiikka, taidepedagogiikka, performanssi<\/jats:p>","DOI":"10.22501\/ruu.3039821","type":"journal-article","created":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:43:46Z","timestamp":1767095026000},"source":"Crossref","is-referenced-by-count":0,"title":["Queer-identiteetti ja -tunteet lavalla, sen takana ja opetusty\u00f6ss\u00e4"],"prefix":"10.22501","author":[{"family":"Timo T\u00e4hk\u00e4nen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:43:46Z","timestamp":1767095026000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3039821\/3039822"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3039821","published":{"date-parts":[[2025,12,30]]}},{"indexed":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T17:27:56Z","timestamp":1767029276742,"version":"3.48.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"37","license":[{"start":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T00:00:00Z","timestamp":1766966400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,12,29]]},"abstract":"This exposition invites you to reflect on the various things you do in your doctoral artistic research and to consider how these activities might form an interconnected system \u2014 a methodology. In a guided tour of words, images, and visits to my garden, I reconsider several research models I encountered as a PhD student investigating transdisciplinary performing practices. However, my primary aim is to carve out a pathway \u2014 from model to metaphor \u2014 one that offers a viable means of seeing your doctoral project existing within a terrain of complexity rather than utter chaos.Throughout the exposition I employ metaphors inspired not only by my artistic work, but also by my garden in Abruzzo, where I lived throughout my PhD studies. To fully discover Abruzzo, it is necessary to slow down \u2014 even allow yourself to get bored \u2014 before inevitably being revitalized and inspired by its natural beauty and ever-welcoming ambiance. I hope you will embrace this exposition\u2019s journey. Permit yourself to be a rural-Italian wanderer, enjoy the breaks, and take extra ones so you can also enjoy an espresso or glass of Montepulciano d\u2019Abruzzo.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=4081900&file=4081902\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/span><\/jats:p>\n keywords: artistic research, methods, methodology, singing, dance, breathing, metaphor, place<\/jats:p>","DOI":"10.22501\/jar.2951879","type":"journal-article","created":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T17:24:22Z","timestamp":1767029062000},"source":"Crossref","is-referenced-by-count":0,"title":["A Metaphorical Methodology: Embracing Complexity in Doctoral Artistic Research"],"prefix":"10.22501","author":[{"family":"Kevin Skelton","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T17:24:22Z","timestamp":1767029062000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2951879\/3702271"}},"issued":{"date-parts":[[2025,12,29]]},"references-count":0,"journal-issue":{"issue":"37"},"URL":"https:\/\/doi.org\/10.22501\/jar.2951879","published":{"date-parts":[[2025,12,29]]}},{"indexed":{"date-parts":[[2026,1,12]],"date-time":"2026-01-12T21:01:05Z","timestamp":1768251665805,"version":"3.49.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,7,16]]},"abstract":"In this exposition, I analyse the making of The Missing Page, a short film I shot in 2016 (and completed much later, in 2018) in response to the disappearance of my mother, Dorothy, from her home for over twelve hours; she was later diagnosed with dementia. This exposition reflects on the key stages of the project: establishes the aims of the film and its inspirations; the nature of the exploratory research, which took place on location at my parent\u2019s home; and the conclusions I drew. I also review my working methods and discuss influences such as slow cinema and defamiliarization, identifying the importance of narrative, ethnographic methods, sound design, the notion of \u2018space\u2019, \u2018place\u2019, and palimpsest in shaping my thoughts, and the progress of the making of the film.<\/jats:p>","DOI":"10.22501\/jar.655507","type":"journal-article","created":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T15:46:13Z","timestamp":1594914373000},"source":"Crossref","is-referenced-by-count":1,"title":["The Missing Page: Place as Palimpsest and \u2018Foil\u2019"],"prefix":"10.22501","author":[{"family":"Jeremy Bubb","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:21Z","timestamp":1727193141000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/655507\/938178"}},"issued":{"date-parts":[[2020,7,16]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jar.655507","published":{"date-parts":[[2020,7,16]]}},{"indexed":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T21:35:12Z","timestamp":1773956112502,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,5]]},"abstract":"For this project, Lien Baelde and I created a choreography based on \"La Soiree dans Grenade\" by C. Debussy. In order to prepare the choreography, I made an approach to the connection between music and dance and I analyzed the harmony and sctructure of the piece. \n\nThe objetive of the research is to see how my playing changes while working \u201cLa Soire\u00e9 dans Grenade\u201d with a dancer. To answer this question, I compare a recording before and after working with the dancer. This research concludes that mixing arts in the learning process has benefits in my playing, adding flexibility and tempo control.<\/jats:p>","DOI":"10.22501\/koncon.544625","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:41:14Z","timestamp":1725921674000},"source":"Crossref","is-referenced-by-count":1,"title":["DEBUSSY AND MOVEMENT - IMANOL CASAN"],"prefix":"10.22501","author":[{"family":"Imanol Casan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:56Z","timestamp":1727193416000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/544625\/615715"}},"issued":{"date-parts":[[2020,6,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.544625","published":{"date-parts":[[2020,6,5]]}},{"indexed":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T16:51:08Z","timestamp":1773939068054,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T00:00:00Z","timestamp":1773878400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2026,3,19]]},"abstract":"What happens when that which saturates the foreground is relegated to the background? And what emerges when we attend to what appears distant, yet at the same time remains strangely familiar?This exposition explores what happens when we listen to the background in both a spatial and temporal sense and examines what happens when various materials of language are brought into the foreground as well as in the background.What can these materials tell us when we listen? \u2013 and how can we enter into dialogue with these materials?The exposition approaches language as a materiality encompassing visuality as language, sound as language and the written and spoken word as language, and the exposition explores what happens when these languages change positions.Taking as its point of departure the dual meaning of background\u2014both as the spatial background that is physically distant and as the structural background internalized over time and which (paradoxically) saturates our foreground\u2014the exposition examines how proximity and distance shape how we listen, and how displacements between foreground and background might surrect modes of listening through which places are rendered incomplete.<\/jats:p>\n keywords: queer temporality, decolonialism, proximity, distance, listening, disorientation, place-making, nonplace-making, displace-making, replace-making, surrected listening, hypering, surrection, resurrection, Insurrection, writing;, topocosmos, topocosm, pluriverse, pluriversity, background, foreground, saturation, entanglement, topocosmology, place, time, space, matter, incompletion, surfaces, returning, effacing, reffacing, niels lyhne l\u00f8kkegaard, site-specificity, site-nonspecificity, fata morgana, mirage, scrambling, intra-action, intra-relatedness, field recording, recording fields, mesh, abject, divination, hypertext, hypotext, circulation, affect, stickiness, wobbliness, palimpsest, language<\/jats:p>","DOI":"10.22501\/vis.3723676","type":"journal-article","created":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T15:30:42Z","timestamp":1773934242000},"source":"Crossref","is-referenced-by-count":0,"title":["Incompleting places \u2013 surrection and mirage making through topocosmological hypering"],"prefix":"10.22501","author":[{"family":"Niels Lyhne L\u00f8kkegaard","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T15:30:42Z","timestamp":1773934242000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3723676\/3723668"}},"issued":{"date-parts":[[2026,3,19]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/vis.3723676","published":{"date-parts":[[2026,3,19]]}},{"indexed":{"date-parts":[[2026,5,12]],"date-time":"2026-05-12T13:11:16Z","timestamp":1778591476479,"version":"3.51.4"},"posted":{"date-parts":[[2026,5,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,6]],"date-time":"2026-05-06T00:00:00Z","timestamp":1778025600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This documented artistic research project is an articulation, through multimodal forms, of a voice-body method that I developed called Internal Singing. Internal Singing is a method that has come into being through a state of amplified sensitivity within my own body. This condition was triggered by a succession of five concussions (mild traumatic brain injuries) over seven years (2016-2023), and an eventual diagnosis of post-concussion syndrome (PCS). Internal Singing has been a way for me, as an artist working predominantly with voice, sound and performance, to traverse and inspect my bodily terrain (both sensed and imagined) over this time, in order to sensitively re-learn how to play a voice and body now replete with unknowns due to injury. It has been the central method explored throughout the research and has been enacted through regular practice, performances, soundworks, collaboration, installation, writing, pedagogy and discussion. Within this artistic research project, Internal Singing researches the disorientating effects of post-concussion syndrome in relation to the voice-body bind and allows materials and rhythms to come into focus through listening to and with both my own voice and body, and the voices and bodies of others. Over this time, Internal Singing has enabled me to hold open a space between study (practice and repetition) and surrender (following), whilst listening to (attending towards) a nebulous and disoriented reality due to the state of post-concussion syndrome. Throughout the research project, Internal Singing is presented as a wayfinding method, exploring how qualities emerging from this heightened state of sensitivity open up opportunities for insight, transformation, feeling and sensation for both vocalist and listener. Across these investigations, the project aims to uncover artistic strategies that allow for sensitive, complex and potentially dis\/re-oriented voice-body relationships to come to light that can lead works into new priorities and aesthetic spheres. These explorations are situated within vocal and sonic practices across experimental musics, as well as visual and performance art, and at times in relation to choreography.<\/jats:p>\n keywords: Konstfack portal - research<\/jats:p>","DOI":"10.22501\/rc.3043388","type":"posted-content","created":{"date-parts":[[2026,5,6]],"date-time":"2026-05-06T12:09:30Z","timestamp":1778069370000},"source":"Crossref","is-referenced-by-count":0,"title":["Internal Singing: Sounding Through Vocalbody Disorientation"],"prefix":"10.22501","author":[{"family":"Cara Tolmie","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,12]],"date-time":"2026-05-12T12:28:46Z","timestamp":1778588926000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3043388\/3435604"}},"issued":{"date-parts":[[2026,5,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3043388","published":{"date-parts":[[2026,5,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,15]],"date-time":"2026-05-15T20:10:04Z","timestamp":1778875804080,"version":"3.51.4"},"posted":{"date-parts":[[2026,5,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,15]],"date-time":"2026-05-15T00:00:00Z","timestamp":1778803200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This expostion presents the research and experimentation process that led to the creation of photographic works developed during June and July 2025 as part of the PhilMe research project (i2ADS\/FBAUP). The residency was carried out within the framework of the postdoctoral research project \u201cMaterialities of Chemical and Digital Photographic Processes in Contemporary Artistic Creation,\u201d developed at i2ADS, FBAUP, in 2025 through the MCTI\/CNPq Public Call No. 16\/2024 for Support of International Scientific, Technological, and Innovation Research Projects. During the residency, the following technical objects were selected: the Bermpohl Naturfarbenkamera camera (trichromy), slide projectors, a negative duplicator, an optics kit, and a box containing used photographic film reels. The exploratory research involved the creation of five works that mobilize procedures such as black and white film photography, the use of slides, discontinued industrial film stocks, digital montage, the transition between digital images and chemical development processes, as well as duplication, copying, and multiplicity as visual poetics. The works share material culture as a transversal axis, both through the selection of photographed objects and through the approach to photography itself, making visible its materialities and technical apparatuses while reflecting on the circularity of images. The artifact thus operates as a guiding thread that traverses the works by foregrounding human action in the transformation of matter according to different intentionalities, including the technologies of play, communication, and the image.A presente exposi\u00e7\u00e3o apresenta o processo de investiga\u00e7\u00e3o e experimenta\u00e7\u00e3o que resultou na cria\u00e7\u00e3o de trabalhos fotogr\u00e1ficos desenvolvidos durante os meses de junho e julho de 2025 na resid\u00eancia art\u00edstica PhilMe - Cole\u00e7\u00e3o de Objetos T\u00e9cnicos e Media da Faculdade de Belas Artes da Universidade do Porto (i2ADS\/FBAUP), no contexto do projeto de investiga\u00e7\u00e3o de p\u00f3s-doutoramento intitulado \u201cMaterialidades dos processos fotogr\u00e1ficos qu\u00edmicos e digitais na cria\u00e7\u00e3o art\u00edstica contempor\u00e2nea\u201d junto ao i2ADS da FBAUP em 2025, atrav\u00e9s da Chamada P\u00fablica MCTI\/CNPq n\u00ba 16\/2024 - Apoio a Projetos Internacionais de Pesquisa Cient\u00edfica, Tecnol\u00f3gica e de Inova\u00e7\u00e3o. Durante a resid\u00eancia, foram selecionados os seguintes objetos t\u00e9cnicos: a c\u00e2mera Bermpohl Naturfarbenkamera (tricromia), projetores de slides, um duplicador de negativos, um kit de \u00f3ptica e uma caixa contendo bobinas de filme fotogr\u00e1fico usadas. A investiga\u00e7\u00e3o, de car\u00e1ter explorat\u00f3rio, compreendeu a cria\u00e7\u00e3o de cinco trabalhos que mobilizam procedimentos como a captura em filme fotogr\u00e1fico preto e branco, o uso de diapositivos, a utiliza\u00e7\u00e3o de filmes descontinuados pela ind\u00fastria, a montagem digital, o tr\u00e2nsito entre imagens digitais e revela\u00e7\u00f5es qu\u00edmicas, bem como a duplica\u00e7\u00e3o, a c\u00f3pia e o m\u00faltiplo como po\u00e9ticas visuais. Os trabalhos apresentam como eixo transversal a cultura material, tanto pela escolha dos objetos fotografados quanto pela abordagem da pr\u00f3pria fotografia, ao tornar vis\u00edveis suas materialidades e seus aparatos t\u00e9cnicos, refletindo sobre a circularidade das imagens. O artefato opera, assim, como fio condutor que atravessa os trabalhos, ao evidenciar a a\u00e7\u00e3o humana na transforma\u00e7\u00e3o da mat\u00e9ria segundo diferentes intencionalidades, entre elas as tecnologias do brincar, da comunica\u00e7\u00e3o e da imagem.<\/jats:p>\n keywords: Artes visuais, fotografia, processos criativos<\/jats:p>","DOI":"10.22501\/i2ads.4174341","type":"posted-content","created":{"date-parts":[[2026,5,15]],"date-time":"2026-05-15T19:30:03Z","timestamp":1778873403000},"source":"Crossref","is-referenced-by-count":0,"title":["Artefatos: \u00e0s voltas com a imagem fotogr\u00e1fica"],"prefix":"10.22501","author":[{"family":"Renata Voss","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,15]],"date-time":"2026-05-15T19:30:04Z","timestamp":1778873404000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4174341\/4174342"}},"issued":{"date-parts":[[2026,5,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.4174341","published":{"date-parts":[[2026,5,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T14:08:03Z","timestamp":1779199683187,"version":"3.51.4"},"posted":{"date-parts":[[2026,5,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T00:00:00Z","timestamp":1779148800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition examines a collaborative performance writing process that resulted in a series of iterations across media - live performance, radio show, online conversation with q & a, and live scripted conversation. Shelley Hodgson and Mark Leahy are artists and writers working with texts, recording, broadcast, and performance. They have known each other\u2019s practice for almost two decades and in the Spring of 2023 they decided to embark together on a collaborative process. They were curious to see where being in a studio space without any initial plan or objective might lead them, beginning with minimal \u2018material\u2019 and carving out chunks of time from busy lives, they began to make a performance.The exposition opens out some of the questions that arose in this process, around bodies, names, and communication. It develops ideas and actions presented in the performance work \u2018twiceness\u2019 (Plymouth, May and July 2024), the live conversation 'thriceness' (Penryn, February, 2025), the radio show \u2018what shall we call it?\u2019 (Soundart Radio, February 2025) and an artists\u2019 talk for CAMP (Online, April 2025) picking up on threads and themes that emerged from their working together.Blocks of information, of narrative, of action, combining the found, the given, and the made, were built into a sequence of telling and showing across the different iterations of the project. Their research questions interaction, engaging with gesture, with doubling, with repetition, with exchange. Underlying the performers\u2019 relationship is awareness of loss and gaps, what is missed or missing, what cannot be communicated, what doesn\u2019t carry across.<\/jats:p>\n keywords: Performance Writing, collaborative processes, Iterative Process, improvisation, live art, radio, conversation, open source<\/jats:p>","DOI":"10.22501\/rc.3704189","type":"posted-content","created":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T13:14:11Z","timestamp":1779196451000},"source":"Crossref","is-referenced-by-count":0,"title":["from twiceness to thriceness: a performance writing collaboration"],"prefix":"10.22501","author":[{"family":"Mark Leahy","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T13:14:12Z","timestamp":1779196452000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3704189\/3704190"}},"issued":{"date-parts":[[2026,5,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3704189","published":{"date-parts":[[2026,5,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:09:24Z","timestamp":1779804564117,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"This exposition explores selected piano works by Isaac Alb\u00e9niz through the perspective of guitar transcription, combining stylistic analysis with practical arrangement. The first part outlines the main characteristics of Alb\u00e9niz\u2019s compositional style, including modal harmony, rhythmic vitality, Spanish national idioms, elements of Andalusian tradition and cante jondo, as well as traces of French impressionism in music. Understanding these stylistic features provides an essential foundation for approaching his music on the guitar.The second part offers a historical overview of guitar transcriptions of Alb\u00e9niz\u2019s works, situating them within the broader tradition of adapting piano repertoire for the instrument. Existing arrangements for solo guitar and guitar trio are examined and analytically discussed, with particular attention to texture, register, rhythm, articulation, and the treatment of idiomatic guitar techniques. The study evaluates different transcription strategies and their musical effectiveness.The final part presents the author\u2019s own transcriptions for guitar trio and duo. These arrangements aim to balance fidelity to the original piano scores with idiomatic writing for the guitar. The exposition includes notated musical examples, comparative score excerpts, and audio recordings of both the original piano performances and the newly created guitar versions. Through analytical commentary and practical demonstration, the study seeks to contribute to a deeper understanding of Alb\u00e9niz\u2019s music and its creative transformation within the guitar repertoire.<\/jats:p>\n keywords: classical guitar, cante jondo, guitar transcriptions, guitar duo, guitar trio, Spanish music, Classical guitar, Isaac Alb\u00e9niz<\/jats:p>","DOI":"10.22501\/koncon.3316767","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:07:32Z","timestamp":1779800852000},"source":"Crossref","is-referenced-by-count":0,"title":["Isaac Alb\u00e9niz and the guitar: transcription practices from piano to guitar repertoire"],"prefix":"10.22501","author":[{"family":"Filip Mi\u0161kovi\u0107","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:07:32Z","timestamp":1779800852000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3316767\/3316768"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3316767","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:12:29Z","timestamp":1779804749843,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"Stanislavski\u2019s acting system centres on action as the basis of truthful performance, prioritizing what a performer does over what they attempt to feel. This exposition presents an original, practice-based method that adapts Stanislavski\u2019s action-based approach for classical singers through structured musical improvisation. While existing research addresses acting technique and improvisation as separate components of vocal training, their combined use as a score-based, action-driven performance tool has received limited attention.The research introduces an action-improvisation exercise developed by the author, in which singers assign specific, transitive action verbs directly into their musical scores. These actions function as the framework for guided improvisation with a pianist, temporarily removing the constraints of the fixed score. The exercise invites singers to explore vocal colour, phrasing, rhythm, breath, and physical impulse as outcomes of intention rather than pre-planned interpretation. The expressive discoveries made through improvisation are then integrated into the original musical context.A series of workshops designed and led by the author functions as the primary research method. These sessions demonstrate that the exercise supports real-time decision-making, sustained focus, and outward-directed intention. Observed outcomes include increased vocal variety, heightened presence, deeper physical and imaginative engagement, and a reduction in habitual or mechanical performance patterns. This research presents action work as a practical, repeatable method that expands interpretive depth and expressive freedom in classical singing.<\/jats:p>\n keywords: improvisation, Stanislavski, acting, opera, performance, action, Singing practice<\/jats:p>","DOI":"10.22501\/koncon.3967730","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:41:53Z","timestamp":1779802913000},"source":"Crossref","is-referenced-by-count":0,"title":["The Active Score: Action Verbs as a Tool for Vocal Expression"],"prefix":"10.22501","author":[{"family":"Erin Selin","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:41:54Z","timestamp":1779802914000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3967730\/3967740"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3967730","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2022,3,31]],"date-time":"2022-03-31T18:00:49Z","timestamp":1648749649769},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,12,31]]},"DOI":"10.22501\/ruu.757632","type":"journal-article","created":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T10:44:09Z","timestamp":1577789049000},"source":"Crossref","is-referenced-by-count":0,"title":["VOICES_ruukku_peripheries\/katveet issue: FLOATING PERIPHERIES Conference 2019 \u2013 Sites and Situations"],"prefix":"10.22501","author":[{"family":"Maiju Loukola","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Mari M\u00e4kiranta","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T10:44:09Z","timestamp":1577789049000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/757632\/757633"}},"issued":{"date-parts":[[2019,12,31]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/ruu.757632","published":{"date-parts":[[2019,12,31]]}},{"indexed":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T11:40:18Z","timestamp":1734349218950,"version":"3.30.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2024,12,12]]},"abstract":"Exploring synergies between the study of the medium H\u00e9l\u00e8ne Smith at the turn of the 20th century and contemporary notions of subjectivity, artificiality and intelligence in the age of AI, the question of locating intelligence will not be a question with a binary answer in this paper. It will be shifted to multiple sites in an assimilative assemblage, exploring how identification might work from a rather metabolic side of the conversation. Weaving a thinking continuum on the evolving human-machine complexes beyond circular debates, H\u00e9l\u00e8ne Smith's ambiguous Martian writings are fed into GPT; an act intended as a metaphor and method for overcoming our binary contradiction of intelligence as either \u201cnatural\u201d or \u201cartificial\u201d, ultimately generating new subjectivities, fluid variables or even contradictory insights. In this context, a meditation with speculative moments is attempted through human-machine inter-written texts, enacted through inter-twined speeches that reciprocally represent and interpret their own transitive nature.<\/jats:p>","DOI":"10.22501\/hub.2678388","type":"journal-article","created":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T11:06:35Z","timestamp":1734347195000},"source":"Crossref","is-referenced-by-count":0,"title":["When GPT Digested the Medium He\u0301le\u0300ne Smith"],"prefix":"10.22501","author":[{"family":"Katerina Undo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T11:06:35Z","timestamp":1734347195000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2678388\/2678343"}},"issued":{"date-parts":[[2024,12,12]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/hub.2678388","published":{"date-parts":[[2024,12,12]]}},{"indexed":{"date-parts":[[2024,10,23]],"date-time":"2024-10-23T04:26:28Z","timestamp":1729657588276,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2024,10,22]]},"abstract":"The Archeologist\u2019s Gaze presents and reflects on a project on the restoration of ancient tapestries, following the award of a research grant to TAMAT (Museum of Tapestry and Textile Arts, Tournai, Belgium) in 2020-2021. After immersing herself in the museum's restoration workshop, looking for images, words, materials and gestures, Paternostre turned her attention to the reverse side of the tapestry. Studying the scraps of thread that had fallen to the floor, her vision of the tapestry was turned upside down, and the little bits of thread that gradually was picked up from the ground became the focus of the research. These details bore traces of many hands that had restored and repaired the tapestry over the centuries and told a story of care and attention, the inseparable opposite of monumental tapestries and mythical tales.<\/jats:p>","DOI":"10.22501\/vis.2977170","type":"journal-article","created":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T18:48:18Z","timestamp":1729622898000},"source":"Crossref","is-referenced-by-count":0,"title":["The Archeologist's Gaze"],"prefix":"10.22501","author":[{"family":"Jehanne Paternostre","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T18:48:18Z","timestamp":1729622898000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2977170\/2977235"}},"issued":{"date-parts":[[2024,10,22]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/vis.2977170","published":{"date-parts":[[2024,10,22]]}},{"indexed":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T22:10:41Z","timestamp":1742249441138,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T00:00:00Z","timestamp":1742169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,3,17]]},"abstract":"The photographic image has always historizised; an artifact of the past, photographic moment. But just as it is conditioned by the temporal and material context of its making, its essence \u2013 if there is one \u2013 is conditioned by how we encounter the image. This encounter involves both the situation in which the image is seen and our individual selves in relation to it \u2013 our histories, beliefs, and expectations. To further reflect on this unstable, temporal quality of the photograph, we explore the meaning of looking at the future by looking at photographs. Artistically and philosophically a contradiction in terms, it is still a practice we experience: How to look ahead with something temporally bound to the past. To do this, we reflect on \u2018Regarding the Pain of the Future\u2019 by the first author and develop and discuss an artistic practice emphasising a second, photographic moment.<\/jats:p>\n keywords: Photography, Photographies, Temporality, Deconstruction, Future, Polarization, Fear, Resilience, Photographies, Temporality, Deconstruction, Future, Polarization, Fear, Resilience<\/jats:p>","DOI":"10.22501\/vis.2834579","type":"journal-article","created":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T21:35:33Z","timestamp":1742247333000},"source":"Crossref","is-referenced-by-count":0,"title":["Photography, Temporality, and Thinking about the Future"],"prefix":"10.22501","author":[{"family":"Jon Hovland Honerud","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Hilde Hovland Honerud","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T21:35:33Z","timestamp":1742247333000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2834579\/3336855"}},"issued":{"date-parts":[[2025,3,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/vis.2834579","published":{"date-parts":[[2025,3,17]]}},{"indexed":{"date-parts":[[2025,9,16]],"date-time":"2025-09-16T20:44:18Z","timestamp":1758055458523,"version":"3.44.0"},"posted":{"date-parts":[[2025,9,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T00:00:00Z","timestamp":1757894400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"PUNCT-ing by Layne Waerea and Julieanna Preston<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3106774","type":"posted-content","created":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T08:43:16Z","timestamp":1757925796000},"source":"Crossref","is-referenced-by-count":0,"title":["PUNCT-ing RC"],"prefix":"10.22501","author":[{"family":"Julieanna Preston","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T08:43:16Z","timestamp":1757925796000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3106774\/3106775"}},"issued":{"date-parts":[[2025,9,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3106774","published":{"date-parts":[[2025,9,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,6,27]],"date-time":"2025-06-27T04:10:05Z","timestamp":1750997405403,"version":"3.41.0"},"posted":{"date-parts":[[2025,6,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,26]],"date-time":"2025-06-26T00:00:00Z","timestamp":1750896000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Som ferdigutdannede frilansere har profesjonelle musikkut\u00f8vere hverken fast ansettelse eller forutsigbare arbeidstider, s\u00e5 hverdagen for mange vil aldri bli helt forutsigbar uavhengig av hvor mange spillejobber man f\u00e5r eller hvor mye man underviser. Musikere er ogs\u00e5 en yrkesgruppe som kontinuerlig ser seg n\u00f8dt til \u00e5 kjempe for sin egen status i samfunnet, og i s\u00e5 m\u00e5te \u00abrettferdiggj\u00f8re\u00bb sin egen eksistens som profesjonell ut\u00f8ver. Dette kan gjelde ovenfor b\u00e5de \u00aboutsidere\u00bb, som nedvurderer verdien av deres h\u00e5ndverk og kunnskap \u2013 i et tilfelle fikk en informant en kommentar fra egen svigermor om \u00ab\u00e5 finne seg en ordentlig jobb\u00bb i tillegg til musikken \u2013 og andre \u00abinsidere\u00bb, ved at man hele tiden vurderes p\u00e5 ens evne til \u00e5 spille bra og prestere i m\u00f8te med publikum \u2013 en informant kommenterte at \u00abman er kun s\u00e5 god som den siste spillejobben man gjorde\u00bb. Til tross for enkelte goder og oppsider med musikeryrket, er det mange utfordringer for de som dedikerer seg til musikken p\u00e5 fulltid.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.1023357","type":"posted-content","created":{"date-parts":[[2025,6,26]],"date-time":"2025-06-26T13:48:31Z","timestamp":1750945711000},"source":"Crossref","is-referenced-by-count":0,"title":["5 \u00e5r etter- en musikksosiologisk unders\u00f8kelse av unge og nyetablerte musikeres levek\u00e5r"],"prefix":"10.22501","author":[{"family":"Marianne Baudouin Lie","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,6,26]],"date-time":"2025-06-26T13:48:31Z","timestamp":1750945711000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1023357\/1023358"}},"issued":{"date-parts":[[2025,6,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1023357","published":{"date-parts":[[2025,6,26]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,2,7]],"date-time":"2026-02-07T22:42:37Z","timestamp":1770504157241,"version":"3.49.0"},"posted":{"date-parts":[[2026,2,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,6]],"date-time":"2026-02-06T00:00:00Z","timestamp":1770336000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Water covers more than 70% of the earth\u2019s surface, and thus constitutes a major section of the ecosystem on Earth. It is a vital element on earth, all life (as we know it) depends on water to be able to thrive.The climate has always changed a bit, but in recent years, due to greenhouse gases, the climate has experienced extreme changes which have also strongly impacted the global water cycle. From melting glaciers to ocean acidifications, flash floods, and prolonged droughts, disruptions in ecosystems now happens faster than most species can adapt to. Because of global warming, the atmosphere can hold and transport more moisture.Water doesn\u2019t have the opportunity to fully infiltrate the soil. This accelerates the hydrological cycle. While it is still important to decelerate this process as much as we can, it is also important to look into strategies of adaptation and think ahead to a future with water that will be compromised.In this book, we explore water futures through the speculative design approach. This design practice aims to challenge preconceptions, raise questions, and provoke debates. It opened the doors for designers to imagine and explore possible water futures globally.We start with the water spring in India where the Ganga river starts, then travel further down the river stream. We end up in the Netherlands where different rivers connect to the sea. We continue where the river meets the sea and travel to the salterns in France and Croatia. Here water changes form, turning into gas and flowing through the air as evaporating steam in the geothermal region of Iceland. Eventually this book will end up with the condensation of the fog net in the Namib Desert.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4172893","type":"posted-content","created":{"date-parts":[[2026,2,6]],"date-time":"2026-02-06T22:43:30Z","timestamp":1770417810000},"source":"Crossref","is-referenced-by-count":0,"title":["mapping water futures"],"prefix":"10.22501","author":[{"family":"Riekje Paruschke","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,2,6]],"date-time":"2026-02-06T22:43:30Z","timestamp":1770417810000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4172893\/4172894"}},"issued":{"date-parts":[[2026,2,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4172893","published":{"date-parts":[[2026,2,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,2,27]],"date-time":"2026-02-27T17:55:07Z","timestamp":1772214907817,"version":"3.50.1"},"posted":{"date-parts":[[2023,6,14]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Artistic research is a comparatively recent development. Outside institutional definitions little work has been carried out to situate the phenomenon in a wider history of art as well as knowledge. This speculative article describes the present moment of artistic research as result of two developments: (1) a shift from notions of knowledge to notions of research, and (2), a shift from major to minor forms of making. At the same time, in line with understandings of contemporary art and as contemporary art, artistic research is not understood as historical project that unifies art and science; rather, artistic research is pitched as providing a transdisciplinary ground in which different disciplines and knowledges can enrich each other. On a historical scale, this development is seen as driven by the increased speed and complexity of our current world for which conventional knowledges offers only partial insights arriving often too late for decision-making. Building on Hans-J\u00f6rg Rheinberger\u2019s concept of experimental systems and his notion of graphematic space, the paper suggests research to create sets of traces as proto-forms underdetermined in their aesthetic and epistemic status and, hence, beyond specific disciplinary contexts. Such space for research is understood as fundamentally artistic, also in opposition to notions of research as output-oriented types of investment. It is suggested that representation as epistemic form has been losing relevance, certainly for the arts and increasingly for the sciences. Artists are tasked to invent new, expositional forms of knowledge over and beyond representation to remain epistemically engaged in today\u2019s fast and complex world.<\/jats:p>","DOI":"10.22501\/hub.2190234","type":"posted-content","created":{"date-parts":[[2023,6,21]],"date-time":"2023-06-21T14:41:52Z","timestamp":1687358512000},"source":"Crossref","is-referenced-by-count":1,"title":["Contemporary Research"],"prefix":"10.22501","author":[{"family":"Michael Schwab","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:27Z","timestamp":1727194167000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2190234\/2190235"}},"issued":{"date-parts":[[2023,6,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/hub.2190234","published":{"date-parts":[[2023,6,14]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T13:46:08Z","timestamp":1764769568032,"version":"3.46.0"},"posted":{"date-parts":[[2025,4,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,1]],"date-time":"2025-04-01T00:00:00Z","timestamp":1743465600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In A place Like This sets out to investigate and expand the issues and critical discourses within Sandborg and Higgins' current collaborative research practice. The central focus for the research is concerned with how art, in this instance photographic and painted image making and text, can be used as an agent or catalyst of understanding and critical reflection.The research methodology is constructed through photography, painting, drawing and text. This utilises the form of an artist publication as a point of critically engaged dissemination: a place for the tension between conflicting ideas and investigation to be explored through discussion.The research question is focused on how the production of the image and the act of making images can communicate or describe moments of erasure or remembering in terms of historical and personal narratives with direct reference to moments of violence and place.This is seen not in terms of a nostalgic remembrance of the past; instead as one that is rife with complicated layers and dynamics where recognition is denied the ability to locate a physical representation. Embedded in this is an exploration of particular questions concerning the ethics of representation: the depiction of ourselves and other? In this sense it brings into question an examination of the act of remembering as a thing in itself, through the production of the image and text, contexts of knowledge and cultural discourses explored through the form of an artists publication.<\/jats:p>\n keywords: KMD, Faculity of Fine Art, Music and Design, University of Bergen, post-photography, PHOTOGRAPHY, Painting, memory, place, image, collective research in arts, KMD_FineArt, KMD_Art<\/jats:p>","DOI":"10.22501\/rc.32161","type":"posted-content","created":{"date-parts":[[2023,1,25]],"date-time":"2023-01-25T06:36:27Z","timestamp":1674628587000},"source":"Crossref","is-referenced-by-count":0,"title":["In a Place like this"],"prefix":"10.22501","author":[{"family":"Johan Sandborg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Duncan Higgins","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T13:09:50Z","timestamp":1764767390000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/32161\/32162"}},"issued":{"date-parts":[[2025,4,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.32161","published":{"date-parts":[[2025,4,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,8,21]],"date-time":"2025-08-21T17:52:52Z","timestamp":1755798772213,"version":"3.44.0"},"posted":{"date-parts":[[2025,8,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,8,19]],"date-time":"2025-08-19T00:00:00Z","timestamp":1755561600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article is emulating fictional informal notes that the author would have taken during his research. The handwritten annotations of Marinus de Jong (1891-1984), and his artistic and pedagogical legacy, have formed an interesting case study within the Flemish Archive for Annotated Music (FAAM) at the Royal Conservatoire of Antwerp. The \u201cmaking of\u201d the documentary Imaginary Conversation with Marinus de Jong, recorded together with pianist Anna Alvizou, is presented in a playfully manner.<\/jats:p>\n keywords: fiction, annotations, pianists, historically informed performance, 20th century, legacy, education<\/jats:p>","DOI":"10.22501\/rc.3828116","type":"posted-content","created":{"date-parts":[[2025,8,19]],"date-time":"2025-08-19T11:50:36Z","timestamp":1755604236000},"source":"Crossref","is-referenced-by-count":0,"title":["Imaginary Conversation with Marinus de Jong"],"prefix":"10.22501","author":[{"family":"Nicholas Cornia","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,8,19]],"date-time":"2025-08-19T11:50:36Z","timestamp":1755604236000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3828116\/3828115"}},"issued":{"date-parts":[[2025,8,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3828116","published":{"date-parts":[[2025,8,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:13Z","timestamp":1733202793038,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"08","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,12,1]]},"abstract":"This text offers an introduction to a hyperlink, http:\/\/earthscramble.com\/, a portal to the Scrambles of Earth project, which is dedicated to decoding and disseminating audio transmissions of possible extraterrestrial origin that have been received on Earth in response to the Voyager Golden Record. The Voyager Record, a compendium of recorded Earth sounds affixed in phonograph form to NASA\u2019s Voyager spacecraft, was launched out of Earth orbit in the 1970s and in 2013 left our solar system to travel into interstellar space. It may be that aliens have started listening in \u2014 and more, as the Scrambles of Earth document suggests, it may be that aliens have started to create their own interpretations of the Earth sounds they have received. Whether such Voyager Record echoes are messages meant for Earthly receipt or are simply exploratory experiments in sound that happen to have been intercepted on their way to somewhere else remains to be determined.<\/jats:p>","DOI":"10.22501\/jss.109536","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:58Z","timestamp":1733149618000},"source":"Crossref","is-referenced-by-count":0,"title":["Remixing the Voyager Interstellar Record: Or, As Extraterrestrials Might Listen"],"prefix":"10.22501","author":[{"family":"Stefan Helmreich","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:58Z","timestamp":1733149618000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/109536\/109537"}},"issued":{"date-parts":[[2014,12,1]]},"references-count":0,"journal-issue":{"issue":"08"},"URL":"https:\/\/doi.org\/10.22501\/jss.109536","published":{"date-parts":[[2014,12,1]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:13Z","timestamp":1733202793741,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"This article presents Kodwo Eshun's concept of sonic fiction as an advanced and adequate methodological approach to sound studies. The references of More Brilliant Than The Sun (Eshun 1998) to afrofuturism and their methodological elaboration in Steve Goodman's Sonic Warfare (Goodman 2010) are discussed \u2013 as well as the strong epistemological connections to Michel Serres' reflections in his anthropology of the senses. Finally, this article explores the historical ramifications of the concept of sonic fictions in Alexander Baumgarten's concept of an aesthetic heuristic and ends with an enumeration of ten criteria for the methodological application of sonic fiction.<\/jats:p>","DOI":"10.22501\/jss.290688","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:01Z","timestamp":1733149561000},"source":"Crossref","is-referenced-by-count":0,"title":["ADVENTURES IN SONIC FICTION: A HEURISTIC FOR SOUND STUDIES"],"prefix":"10.22501","author":[{"family":"Holger Schulze","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:01Z","timestamp":1733149561000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/290688\/290689"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.290688","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:00Z","timestamp":1733202780166,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"08","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,12,1]]},"abstract":"This essay explores how the idea of the \u2018sounds of space\u2019 has been articulated in popular culture since the late nineteenth century through the early years of the Space Age. The primary focus is on sound and music in science-fiction films from Europe, the former Soviet Union, and the United States, and the four main topic areas are the sounds of signals from space, the sounds of outer-space technology, the sounds of \u2018heavenly bodies,\u2019 and the sounds\/music associated with space travel. Framing this central portion of the essay, however, is a discussion of \u2018space music\u2019 by various composers for whom writing for the cinema was perhaps one of the furthest things from their minds. The essay argues that, in terms of depictions of weightlessness, perhaps certain works by composers Arnold Schoenberg and Edgard Var\u00e8se, and by the rock groups Popol Vuh and Tangerine Dream, have something in common with the music of sci-fi cinema.<\/jats:p>","DOI":"10.22501\/jss.109621","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:54Z","timestamp":1733149614000},"source":"Crossref","is-referenced-by-count":0,"title":["The Imagined Sounds of Outer Space"],"prefix":"10.22501","author":[{"family":"James Wierzbicki","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:55Z","timestamp":1733149615000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/109621\/109622"}},"issued":{"date-parts":[[2014,12,1]]},"references-count":0,"journal-issue":{"issue":"08"},"URL":"https:\/\/doi.org\/10.22501\/jss.109621","published":{"date-parts":[[2014,12,1]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:04Z","timestamp":1733202784149,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,29]]},"abstract":"As an increasingly migratory being, a wandering listener interacts with various places he\/she traverses in fleeting and transitory ways, considering them as spatio-temporally evolving but gradually disorienting auditory situations. Instead of locating the source identities of sounds, the listener may relate to these situations through thought processes generated by means of a subjective perception of the various sonic phenomena occurring at these places. This essay describes an on-going project, \u201cDoors of Nothingness,\u201d that frames and textualizes streams of thought triggered by presence in certain immersive but evanescent auditory situations. Essentially personal and contemplative in nature, the project refers to the pervasive interaction that takes place between the constantly migrating man and his contextual sonic environment beyond sound\u2019s immediately accessible meaning. In the context of describing the project and its methodology, this essay intends to develop a discourse on sound\u2019s problematic relationship to locating its source, arguing that situational sonic phenomena activate thought processes that transcend mere epistemic comprehension of the source identity and involve subjectivity, contemplation, poetics, and the mood of the nomadic listener.<\/jats:p>","DOI":"10.22501\/jss.269178","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:19Z","timestamp":1733149579000},"source":"Crossref","is-referenced-by-count":0,"title":["AUDITORY SITUATIONS: NOTES FROM NOWHERE"],"prefix":"10.22501","author":[{"family":"Budhaditya Chattopadhyay","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:19Z","timestamp":1733149579000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/269178\/269179"}},"issued":{"date-parts":[[2018,6,29]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.269178","published":{"date-parts":[[2018,6,29]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:03Z","timestamp":1733202783945,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,10,28]]},"abstract":"The semiotic model described by CS Peirce has been adapted to film and media generally, and more recently to sound and music analysis but seldom has it been applied to the actual practice of sound design. This paper argues that the model provides not only a comprehensive and powerful tool for the analysis of sound but may also be used as a tool to examine and inform the practice of sound design and production.\n\nBy focussing particularly on Peirce\u2019s later model of semiotics, which clarifies and reframes the definitions of some of the principal elements of his system, its utility in application to the analysis of sound is greatly enhanced. It provides an appropriate and flexible conceptual framework which can be applied to the processes involved in creating elements of the soundtrack \u2013 the practice of sound design \u2013 and a means to understand how the sounds themselves, and in conjunction with the image, can be used to create meaning for the audience.<\/jats:p>","DOI":"10.22501\/jss.94638","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:19Z","timestamp":1733149639000},"source":"Crossref","is-referenced-by-count":0,"title":["Peirce and sound design practice"],"prefix":"10.22501","author":[{"family":"Leo Murray","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:19Z","timestamp":1733149639000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/94638\/94639"}},"issued":{"date-parts":[[2015,10,28]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/jss.94638","published":{"date-parts":[[2015,10,28]]}},{"indexed":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T00:05:35Z","timestamp":1752537935345,"version":"3.41.2"},"posted":{"date-parts":[[2025,7,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T00:00:00Z","timestamp":1752451200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Is the reality perceived by someone with dementia less real than our own? Can photography give authority to this alternate reality?\nThis research, sparked by my newfound relationship with my dementia-affected grandfather Raymond, investigates the family album - often perceived as an unquestionable document - in order to uncover its ambiguities and to question photography in itself as the most trustful record of reality. \nThe inaccuracy of a medium that aims for objectiveness and is perceived as the bearer of truth, leads me to focus on three different ways of approaching the family archive (collection, editing and manipulation) and the relationship between mortality and memory. By using a mix of photography and photogrammetry, Ray's distorted memories - as he recounted them during his illness - became new images in order to materialise his present parallel truth. Alongside this dreamlike everyday, what has survived of Ray's past is contained in a briefcase: 254 photographs that have been transformed into postcards, travelling keepsakes, ready to be sent. If photography is in itself unreliable, why should the reality of a person who has lost his memory be any less real than our own?<\/jats:p>\n keywords: PHOTOGRAPHY, post-photography, photogrammetry, family archives, memory loss, family album, illness, dementia, alzheimers, family<\/jats:p>","DOI":"10.22501\/rc.3786447","type":"posted-content","created":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T13:36:35Z","timestamp":1752500195000},"source":"Crossref","is-referenced-by-count":0,"title":["Ray, where have you been today?"],"prefix":"10.22501","author":[{"family":"Pietro Fanti","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T13:36:35Z","timestamp":1752500195000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3786447\/3786448\/1148"}},"issued":{"date-parts":[[2025,7,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3786447","published":{"date-parts":[[2025,7,14]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,5,8]],"date-time":"2025-05-08T09:40:09Z","timestamp":1746697209509,"version":"3.40.5"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2024","license":[{"start":{"date-parts":[[2025,5,8]],"date-time":"2025-05-08T00:00:00Z","timestamp":1746662400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["acpa"],"published-print":{"date-parts":[[2025,5,8]]},"abstract":"This dissertation considers performed silences in composed music and suggests that musicians often use markers to communicate the dimensions of silence. These markers may shape, summon, or impose silence. Markers are signals or cues that may be visible, audible, or multimodal. This research consists of an archive of examples from the author's pianistic practice, as well as three case studies drawn from works of Beethoven, Cage, and Antheil. \nFull title: \"Performing Musical Silence: Markers, Gestures, and Embodiments\"<\/jats:p>\n keywords: silence, absence, audience, performer, embodiment, gesture, Spaces in between, ma, markers, musical silence, absence art, Silent discourse, Silence perception, silenced narratives, stillness, john cage, Beethoven, George Antheil<\/jats:p>","DOI":"10.22501\/acpa.1712958","type":"journal-article","created":{"date-parts":[[2025,5,8]],"date-time":"2025-05-08T09:27:32Z","timestamp":1746696452000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing Musical Silence"],"prefix":"10.22501","author":[{"family":"Guy Livingston","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Academy of Creative and Performing Arts"],"language":"en","deposited":{"date-parts":[[2025,5,8]],"date-time":"2025-05-08T09:27:32Z","timestamp":1746696452000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1712958\/2780572"}},"issued":{"date-parts":[[2025,5,8]]},"references-count":0,"journal-issue":{"issue":"2024"},"URL":"https:\/\/doi.org\/10.22501\/acpa.1712958","published":{"date-parts":[[2025,5,8]]}},{"indexed":{"date-parts":[[2025,5,31]],"date-time":"2025-05-31T04:09:18Z","timestamp":1748664558790,"version":"3.41.0"},"posted":{"date-parts":[[2025,5,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T00:00:00Z","timestamp":1748563200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"My song cycle Dull Catastrophes and Love Songs, composed and recorded between 2022 and 2024, has a somewhat unusual placement within the context of contemporary music. In its original conception, it was first and foremost meant to investigate and extend the relation with recording technology, questioning a broad set of assumptions about the role and scope of musical notation, as well as the very conception and nature of the produced work, that are deeply ingrained in the practice and environment of score-based contemporary music. This would be achieved through an attempt to incorporate some techniques and creative approaches borrowed from the practices of popular music.\n\nIn hindsight, I realise that it was not only the strong orientation towards recording that influenced the creative process and its eventual outcome. Rather, technology enabled novel artistic possibilities and brought the work to addressing topics such as the agencies of the performer and the composer and the very ontology of the musical artefact. \n\nThrough the lens of practice-based artistic research, I will generate insights on the conceptual background, genesis, outcome and implications of this work. I set out to do this by delineating the musical, technological and socio-economic context in which the work is situated; exposing how the conception of the work changed over time, reflecting my growing awareness of its context and premisses; and describing the production process in order to show the difficulties and opportunities I encountered, as well as the ways it aligned with and deviated from the initial project. The goal is to spark a reflection on how the transfer of tools and techniques between different musical practices and creative approaches \u2014 with a specific reference to recording technology and its affordances and implications \u2014 may be an enriching opportunity for musical creation; and, more generally, on how technical and technological choices, far from being neutral, impact on the very aesthetic and ontological qualities of the work of art.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3721054","type":"posted-content","created":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T16:21:08Z","timestamp":1748622068000},"source":"Crossref","is-referenced-by-count":0,"title":["Dull Catastrophes and Love Songs: a Tacit Artistic Research Project"],"prefix":"10.22501","author":[{"family":"Andrea Agostini","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T16:21:08Z","timestamp":1748622068000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3721054\/3721055"}},"issued":{"date-parts":[[2025,5,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3721054","published":{"date-parts":[[2025,5,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,5]],"date-time":"2024-12-05T05:35:38Z","timestamp":1733376938553,"version":"3.30.1"},"posted":{"date-parts":[[2024,12,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"For the 'Breaking Free Essay'. A manifesto and personal reflection.<\/jats:p>","DOI":"10.22501\/rc.3256652","type":"posted-content","created":{"date-parts":[[2024,12,4]],"date-time":"2024-12-04T20:18:28Z","timestamp":1733343508000},"source":"Crossref","is-referenced-by-count":0,"title":["CAMPing"],"prefix":"10.22501","author":[{"family":"Liane Paldi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,4]],"date-time":"2024-12-04T20:18:28Z","timestamp":1733343508000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3256652\/3256653"}},"issued":{"date-parts":[[2024,12,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3256652","published":{"date-parts":[[2024,12,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:29Z","timestamp":1727238629052},"posted":{"date-parts":[[2020,4,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Basso Continuo in New Spain<\/jats:p>","DOI":"10.22501\/rc.855091","type":"posted-content","created":{"date-parts":[[2020,4,21]],"date-time":"2020-04-21T17:19:11Z","timestamp":1587489551000},"source":"Crossref","is-referenced-by-count":0,"title":["Basso Continuo in New Spain"],"prefix":"10.22501","author":[{"family":"Miguel Espinoza Chavez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:14Z","timestamp":1727192894000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/855091\/855092"}},"issued":{"date-parts":[[2020,4,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.855091","published":{"date-parts":[[2020,4,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:29Z","timestamp":1727238629794},"posted":{"date-parts":[[2017,12,29]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Everyone knows what an essay is, or at least everyone think they know what an essay is. But try to define it and you\u2019re most likely at a loss, because the essay is\nnotoriously difficult to define. It balances between the artistic and the scientific, the experiential and the intellectual, it is labeled as an undefinable non-genre. The essay is experimental and doesn\u2019t fit neatly in pre-defined boxes of genres, just like performance. Among other things they share a process oriented atitude and\nare inherently authorial. Having many characteristics in common, I wondered: can performance be essayistic? This research investigates the essay and its connection to performance theoretically, and investigates the essayistic performance artistically.\n\nI have chosen the workspace of the Research Catalogue to present my research in. This enables spatial freedom of form and content and can accomodate both the textual and artistic side of the research equally in the same space.<\/jats:p>","DOI":"10.22501\/rc.270728","type":"posted-content","created":{"date-parts":[[2017,12,29]],"date-time":"2017-12-29T10:33:04Z","timestamp":1514543584000},"source":"Crossref","is-referenced-by-count":0,"title":["PER-FORM - the performative essay and the essayistic performance"],"prefix":"10.22501","author":[{"family":"Emily Huurdeman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:34Z","timestamp":1727192974000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/270728\/270729"}},"issued":{"date-parts":[[2017,12,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.270728","published":{"date-parts":[[2017,12,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:30Z","timestamp":1727238630905},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,5,23]]},"abstract":"This exposition is a presentation of an artistic method that incorporates generative technologies in artistic intervention. The autonomy of the generative system is analysed not as an isolated capability of a technical object but as a specific configuration between the autonomous operations of the system\u2019s creator, the system itself, and the individuals related to the system. The notion of transferred autonomy is proposed to emphasise this interrelated nature of an entity\u2019s autonomy. In this way, a generative system is positioned in a broader socio-economic and cultural context. To make this interpretation productive in relation to artistic practice, interventionist tactics need to be reconsidered as well. The presented method uses an opinion poll format. The opinion poll is interpreted as a basis for collective individuation enabled by generative processes. The conventional opinion poll format is deformed and reconstructed according to an assemblage of enunciation, enunciative recursion, disinhibition, and individuation. Rather than being a scientific, generalising and analytic method, it becomes an artistic generative, interventionist medium.\nTwo related projects are presented: \u2018Happy Space\u2019 (2016) and \u2018Midscape\u2019 (2018). Each describes the specific way in which generative art techniques are adopted and developed. The former presents a case study based on a survey of working and living conditions, hybridising an opinion poll with a procedural genesis of three-dimensional environments. The latter explores the levels on which generative technologies can facilitate the dynamics of structures conceived in the previous project. These dynamics are encapsulated in installation elements, opening a dialogue between physical and social dimensions.<\/jats:p>","DOI":"10.22501\/jar.721404","type":"journal-article","created":{"date-parts":[[2021,5,22]],"date-time":"2021-05-22T22:02:14Z","timestamp":1621720934000},"source":"Crossref","is-referenced-by-count":0,"title":["Registers of Disinhibition: Transferred Autonomy and Generative Systems in Artistic Research"],"prefix":"10.22501","author":[{"family":"Matthias M Sildnik S","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:58Z","timestamp":1727193118000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/721404\/800739"}},"issued":{"date-parts":[[2021,5,23]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/jar.721404","published":{"date-parts":[[2021,5,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:36Z","timestamp":1727238636461},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Eva Lymenstull\nMain Subject: Baroque Cello Research Coach: Johannes Boer\nTitle of Research: Chordal Continuo Realization on the Violoncello: A look at the practice of chordal accompaniment by cellists over the course of two centuries, with a focus on recitative accompaniment practices between 1774 and 1832\nResearch Question:\nWhat was the practice of chordal continuo realization by cellists in the eighteenth century? What historical precedence exists, in what musical contexts would the practice be used, and how does this realization sound when used in performance?\nSummary of Results:\nThe cello was used as a continuo instrument from the earliest days of basso continuo through the early nineteenth century. In addition to the cello being used as a single-voice continuo instrument, evidence exists that some cellists realized their continuo lines, creating multi-voice chordal accompaniments. Accounts of performances in which cellists played chordal continuo realizations exist, though very sporadically, ranging from 1657 to 1834. Despite arguments from a number of scholars and performers that the use of chordal continuo realizations by cellists was widespread during the eighteenth century, there is insufficient evidence, much of which is highly circumstantial, that the practice was common before 1774. Several treatises were published between 1774 and 1834, however, that give clear and detailed instructions, including examples of execution, for the use of chordal continuo realizations on the cello in secco recitatives in opera. The use of this practice at that time sheds an interesting light on the role of the cello, the development of cello technique, and about the virtuosity required for this type of accompaniment. The presentation will include a discussion of the various sides of the debate over chordal continuo practices in the Baroque, live demonstrations by myself and colleagues of the chordal recitative techniques outlined in the treatises I have examined, and a power point presentation.<\/jats:p>","DOI":"10.22501\/koncon.28508","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:49:48Z","timestamp":1725922188000},"source":"Crossref","is-referenced-by-count":0,"title":["Chordal Continuo Realization on the Violoncello: A look at the practice of chordal accompaniment by cellists over the course of two centuries, with a focus on recitative accompaniment practices between 1774 and 1832"],"prefix":"10.22501","author":[{"family":"Eva Lymenstull","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:47Z","timestamp":1727193527000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/28508\/28509"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.28508","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:41Z","timestamp":1727238641970},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,6,26]]},"abstract":"Gabriela Krist (Institute of Conservation) and Marie-Christine Pachler (Institute of Conservation) provide solutions for challenges in seemingly obvious everyday situations in their contribution \"Sustainable Behavior with Cultural Heritage: Study on Visitor Awareness\". This text provides insights and findings from a study of awareness-raising measures conducted at Sch\u00f6nbrunn palace. This site is particularly popular with tourists and must deal with the wear and damage of displayed objects. As conservators, the authors draw attention to the damage that visitors can cause, and examine different educational measures to improve awareness among tourists and staff members.<\/jats:p>","DOI":"10.22501\/repos.2481757","type":"journal-article","created":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T09:13:24Z","timestamp":1719393204000},"source":"Crossref","is-referenced-by-count":0,"title":["Sustainable Behavior with Cultural Heritage: Study on Visitor Awareness"],"prefix":"10.22501","author":[{"family":"Marie-Christine Pachler","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Gabriela Krist","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:56Z","timestamp":1727193896000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2481757\/2481758"}},"issued":{"date-parts":[[2024,6,26]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/repos.2481757","published":{"date-parts":[[2024,6,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:42Z","timestamp":1727238642584},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,8]]},"abstract":"The research exposition consists of a case study in non-human phenomenology. The topic of the study derives from Jakob von Uexk\u00fcll\u00b4s (1864\u20131944) classic ecological studies on the \u201clifeworld\u201d (Umwelt) of animals, the focus being on the lifeworld of a tick. The tick experience is approached in an embodied manner, as developed by the author based on his artistic practice. The study demonstrates that it is possible and meaningful to create virtual corporeal interfaces between human and nonhuman species. What are the epistemological and ecological consequences of that disposition? On what kind of knowledge can planetary co-habitation among radically heterogeneous beings be based in the future?<\/jats:p>","DOI":"10.22501\/ruu.622394","type":"journal-article","created":{"date-parts":[[2020,6,8]],"date-time":"2020-06-08T03:29:32Z","timestamp":1591586972000},"source":"Crossref","is-referenced-by-count":0,"title":["TICK VARIATIONS"],"prefix":"10.22501","author":[{"family":"Esa Kirkkopelto","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:00:52Z","timestamp":1727193652000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/622394\/707552"}},"issued":{"date-parts":[[2020,6,8]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.622394","published":{"date-parts":[[2020,6,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:43Z","timestamp":1727238643521},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"This paper presents an exchange between four practitioners from distinct disciplines of site dance, philosophy, experimental writing and pedagogy. It presents responses to provocations that position these practices as containers of Situated Knowledge, it interrogates the transmission and reception of practical knowledge, and employs the notion of \u2018parasitic endeavor\u2019 as a lens through which to facilitate discussion of of how disciplinary specific practices and emerging knowledges might traverse from one discipline to another and how this knowledge might be articulated and communicated to wider audiences. Informed by Bennett\u2019s notions of \u2018vibrant matter\u2019 (2010), Barad\u2019s conception of agency and intra-action (2003), transversality (Guattari, 1964 and Dolphijn and van der Tuin, 2012) and J.J. Gibson\u2019s theory of affordances (1986) the paper explores how embodied knowledges become activated and mobilised through human-material-world intra-actions and how interdisciplinary engagements facilitate the articulation of such knowledges. The notion of parasitic endeavor employed here alludes to a temporal process in which theoretical paradigms from one discipline are employed within or applied in another for a required period of time to facilitate the articulation of complex intra-active and diffractive human-nonhuman entanglements.\n\nThis paper seeks to show how distinct practices transmit knowledges beyond disciplinary boundaries. Each respondent will offer a \u2018score\u2019 to provoke and support intra-active practice. The score frames a set of instructions, rules or constraints for fellow authors to explore and reflect on their experiences in relation to their own, customary modes of \u2018doing\u2019 practice and research. For publication, each contributor will present a response to one or more of these scores, drawing on their own disciplinary methods and working practices to consider how the specificities of their discipline engage creatively with these alternate actions and actors.\n\nIn this scenario the notion of \u2018parasitic endeavor\u2019 is positioned as prodigious and facilitatory; we move through and beyond disciplinary silos, borrow and compare, creating new theoretical and disciplinary entanglements, through which new\/augmented modes of thinking\/doing might emerge.<\/jats:p>","DOI":"10.22501\/ruu.371804","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T15:49:57Z","timestamp":1538236197000},"source":"Crossref","is-referenced-by-count":0,"title":["Situated Knowledge, Transmissions of Practice and Parasitic Endeavors"],"prefix":"10.22501","author":[{"family":"Helen Palmer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Victoria Hunter","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Jessica Foley","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Karolina Kucia","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:56Z","timestamp":1727193776000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/371804\/371805"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.371804","published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:44Z","timestamp":1727238644658},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,2,20]]},"abstract":"Valerie Messini (Peter Weibel Research Institute for Digital Culture) chooses the phenomenon of emptiness in art as a point of departure for her contribution \"Nothingness in the digital Space\" and presents her artistic projects operating with different technologies to approach the phenomenon of emptiness in connection with corporeality in digital space. \"1-NO1-100.000\" uses dance movement to explore emptiness in virtual space, and \"Deep Empty - Wide Open\" uses deep learning to question the extent to which horizon lines function as mental voids.<\/jats:p>","DOI":"10.22501\/repos.1942520","type":"journal-article","created":{"date-parts":[[2024,2,20]],"date-time":"2024-02-20T08:58:23Z","timestamp":1708419503000},"source":"Crossref","is-referenced-by-count":0,"title":["Nothingness in the digital Space"],"prefix":"10.22501","author":[{"family":"Valerie Messini","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:16Z","timestamp":1727193916000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1942520\/1942434"}},"issued":{"date-parts":[[2024,2,20]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/repos.1942520","published":{"date-parts":[[2024,2,20]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:45Z","timestamp":1727238645935},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2023,9,15]]},"abstract":"Michal Nietyksza's Artistic Research Dissertation (Master)<\/jats:p>","DOI":"10.22501\/uia.2056198","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:14Z","timestamp":1727194094000},"source":"Crossref","is-referenced-by-count":0,"title":["CELIUM \"The aesthetic of electronic dance music in a band setting \""],"prefix":"10.22501","author":[{"family":"Michal Jerzy Nietyksza","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:15Z","timestamp":1727194095000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2056198\/2090488"}},"issued":{"date-parts":[[2023,9,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.2056198","published":{"date-parts":[[2023,9,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:00Z","timestamp":1727238720006},"posted":{"date-parts":[[2022,7,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Framed by the metaphor of a road trip, this exposition explores the use of participatory performance in building cultural discourse about decision-making during the climate crisis. Using Ranci\u00e8re\u2019s concept of the emancipated spectator, common human experiences such as childhood development of subjectivity (acquired through Lacan\u2019s mirror phase and symbolic order) and image schemas (as discussed in Mark Turner\u2019s The Literary Mind) are explored as possible strategies for co-authoring an artistic landscape alongside spectators. An audio narration accompanies the written work, attempting to explore these theories in the form of a correspondence between the author and her elusive self-awareness. Each track reflects on these individual-but-common experiences as a method for creation. The author concludes that a co-authored artistic landscape may only be accessible to participants who are enticed to set aside limiting social norms in order to explore it, and this is the challenge of the artist.<\/jats:p>","DOI":"10.22501\/rc.1708471","type":"posted-content","created":{"date-parts":[[2022,7,20]],"date-time":"2022-07-20T09:44:29Z","timestamp":1658310269000},"source":"Crossref","is-referenced-by-count":0,"title":["Co-authoring the Future: Stories from the Road"],"prefix":"10.22501","author":[{"family":"Jessica Renfro","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:21Z","timestamp":1727192661000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1708471\/1708472"}},"issued":{"date-parts":[[2022,7,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1708471","published":{"date-parts":[[2022,7,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:07Z","timestamp":1727238727930},"posted":{"date-parts":[[2012,7,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"QUANTUM CINEMA is an artistic research project group in an interdisciplinary constellation between experimental physics, discrete mathematics and geometry, analysis and scientific computing and anthropology of arts, supervised by media theory.<\/jats:p>","DOI":"10.22501\/rc.22616","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:45Z","timestamp":1498067745000},"source":"Crossref","is-referenced-by-count":0,"title":["QUANTUM CINEMA - a digital vision"],"prefix":"10.22501","author":[{"family":"Renate Quehenberger","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:57Z","timestamp":1727193057000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/22616\/22617"}},"issued":{"date-parts":[[2012,7,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.22616","published":{"date-parts":[[2012,7,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:05Z","timestamp":1727238725502},"posted":{"date-parts":[[2019,12,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The doctoral research investigates the orchestration of timbre from a performer\u2019s perspective. Through the dissertation, I explore orchestration as means to \u201cunfold\u201d improvisational processes. The foundation of the work lies in my practice as a pianist in the realm of improvised music, in which I often use preparations and objects as extensions of the instrument.\nWhilst timbre is often understood as a purely sonic perceptual phenomenon, this view of timbre does not accord with its use within con- temporary site-specific improvisational practice. This research grew out of the need to explore the potentiality of timbre, and to renew and situate it within my own practice. Through the research, I argue that a range of aspects that exceed the purely sonic\u2014for instance, changing spatial circumstances, the affordances and agency of instruments and objects, and the performer\u2019s movements and gestures\u2014 all impact upon a performance and the listening experience. All of these aspects need to be taken into account in understanding and working with timbre.\nIn this dissertation, I introduce and argue for an extended and situated understanding of timbre in relation to material, space, and body that recognizes timbre\u2019s complexity and embraces its potential to contribute to an ethical engagement with the contextual environment. I understand these material, spatial, and embodied relations to be non-hierarchical, inseparable, and in constant flux, and to require continuously re-configuration without being reduced or simplified. This timbral approach, which navigates multiple media beyond the sonic, radiates throughout my research. From a performer\u2019s perspective, I define \u201corchestrating\u201d timbre as the attentive re-organization of these active agents and the creation of musical structures on micro and macro levels through the sculpting and transitioning of timbre\u2014 spatially, temporally, physically, and mentally\u2014within a variety of com- positional frameworks.\nUnderstanding timbre in this way requires that we recognize the multiple and complex roles that memory plays in contemporary improvisational practice. I therefore introduce the term timbral memory in order to describe how I use memory strategically as means to gain knowledge about improvisational processes undertaken in line with an extended understanding of timbre.\nIn the course of the research, I conducted four investigative projects that were integrated into my practice, which were further extended through collaborations with sound engineers, an instrument builder, and a choreographer. The resulting practice-based research explores multiple, combined, artistic, and analytical approaches to timbre: I use systematic mappings to detail vocabulary and technique, explore amplification and recording in the creation of spatial compositions, em- ploy a custom-built device for live spatialization as a means to expand and deepen spatiotimbral relationships, adopt gestural approaches in composing timbre choreographies, and articulate a range of diverse perspectives through dialogues and interviews with other practitioners.\nTaken together, these diverse studies constitute an exploration of both timbral memory as a structural, reflective, and performative tool, and the creation of performing and listening modes as integrated parts of timbre orchestration. The thesis opposes the notion of generalizable, reproducible, and transferable techniques and instead offers detailed and intimate approaches to technique and material, describing object timbre, action timbre, and gesture timbre as active agents in sound-producing processes.\nOrchestrating timbre forms a hybrid compositional approach, which can be applied to various improvisational contexts and which, by engaging with dynamic relationships, reconfigures them; in this, it offers a way of understanding and using the potentials that instrument-body-space interactions afford. By reaching beyond the sonic, my research makes a contribution to the field of critical improvisation studies. It addresses practitioners and audiences in music and sound art alike, attempting to constitute a bridge from artistic research in music\u2014which is often viewed and treated as a self-contained discipline\u2014into multiple artistic fields, in order to inspire discussions, creation and education in broader audiences.<\/jats:p>","DOI":"10.22501\/rc.382024","type":"posted-content","created":{"date-parts":[[2019,12,4]],"date-time":"2019-12-04T20:08:00Z","timestamp":1575490080000},"source":"Crossref","is-referenced-by-count":0,"title":["Orchestrating timbre - unfolding processes of timbre and memory in improvisational piano performance"],"prefix":"10.22501","author":[{"family":"Magda Mayas","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:36Z","timestamp":1727192916000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/382024\/382025"}},"issued":{"date-parts":[[2019,12,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.382024","published":{"date-parts":[[2019,12,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:14Z","timestamp":1727238734101},"reference-count":0,"publisher":"Society for Artistic Research","issue":"30","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,10,24]]},"abstract":"This autoethnographic exposition details a short series of musicking encounters aimed at making kin in a rainforest-covered mountain on unceded Djiru Country on the east coast of Australia. Each encounter consisted of a short hike and a discrete musical encounter with local subjectivities. The inquiry considers the place of the walking in the musicking, and my joint response-ability with my saxophone (or the ways in which we apprehend and respond to other subjectivities) in each encounter. I argue that the hiking and discrete sonic encounters became entangled processes, in which my epistemological capacity and music-making practice were challenged and the possibility of kinship resides.<\/jats:p>","DOI":"10.22501\/jar.1508482","type":"journal-article","created":{"date-parts":[[2023,10,24]],"date-time":"2023-10-24T14:00:26Z","timestamp":1698156026000},"source":"Crossref","is-referenced-by-count":0,"title":["The Plane of Cicadas: On the Possibility of Making Kin through Musicking"],"prefix":"10.22501","author":[{"family":"Mathew Klotz","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:23Z","timestamp":1727193083000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1508482\/2161820"}},"issued":{"date-parts":[[2023,10,24]]},"references-count":0,"journal-issue":{"issue":"30"},"URL":"https:\/\/doi.org\/10.22501\/jar.1508482","published":{"date-parts":[[2023,10,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:15Z","timestamp":1727238735752},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,7,3]]},"abstract":"The profession of a music teacher has developed over the past years in a way where teachers are required to be more versitale and not focussed on one specific element. A lot of collegues of mine, including myself, work at a music school where they teach children not only their main instrument, but also a secondary instrument, in my case piano. This brings up interesting challanges as a lot of teaching strategies overlap, but there might also be approaches that differ between various instruments. \n\nIn this research, we explore how private vocal lessons compare to private piano lessons and what the specific teaching strategies are of these instruments. Following up on this, we analyze how these finding inspire my own teaching practice and how one instrument might benefit from the teaching strategies of the other instrument. \n\nThis research includes a dive into already existing literature, interviews with Conservatory teachers who specify in vocal and piano pedagogy and interviews with private school teachers. Additionally, observations were made of multiple vocal and piano lessons given by myself as well as the other teachers mentioned above.<\/jats:p>","DOI":"10.22501\/koncon.1400665","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:35:55Z","timestamp":1725921355000},"source":"Crossref","is-referenced-by-count":0,"title":["Keys and Cords: A Comparison of Piano and Vocal Teaching Strategies"],"prefix":"10.22501","author":[{"family":"Renske Luijten","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:55Z","timestamp":1727193295000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1400665\/2830480"}},"issued":{"date-parts":[[2024,7,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1400665","published":{"date-parts":[[2024,7,3]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738121},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Before the flute's ascension to rival the violin and harpsichord in repertoire and expressive character, its first defined soloistic role emanated from music in the reign of Louis XIV. \nIconography and collections of allegories, circulated in Europe since Cesare Ripa's Iconologia\u00b4s first edition in 1590, depicted the flute with two distinct figures. In the first, the flute symbolises the sweetening of the human voice in vital persuasion, while the second related to the art of pleasing.\nThese artistic representations influenced the composer's choices for the flute, from keys and tempi to specific technical requirements. It must follow, then, that there is a strong link between the dramatic or allegoric content of the pieces in question and the technical and expressive identity of the late Sixteenth Century and early Eighteenth Century flute.\nThis paper addresses this phenomenon through the French Cantate, with a primary focus on A. Campr\u00e1 and N. Cl\u00e9rambault, in addition to further context of stylistic influence in subsequent compositions.<\/jats:p>","DOI":"10.22501\/koncon.247823","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:45:26Z","timestamp":1725921926000},"source":"Crossref","is-referenced-by-count":0,"title":["The characters of the flute. A performer\u2019s exploration of the dramatic roles of the baroque flute"],"prefix":"10.22501","author":[{"family":"Maria Florencia Gomez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:51Z","timestamp":1727193471000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/247823\/247824"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.247823","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:17Z","timestamp":1727238737961},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,6,8]]},"abstract":"After a long investigation of the jazz discography from 1920s until today, Dimitris Koutantos chose 5 recordings which contain drum-comping styles with these two characteristics: \n1)not-cymbal-oriented \n2)non-repetitive. \n\nFor his research exposition, he uses a variety of media (such as videos, musical notation & text) to show you his path:\n-searchng and choosing recordings\n-transcribing them\n-analyzing them\n-creating different exercises (to solve problems)\n-turning what he learned into action\n-looking for his own comping style (inspired by those drummers)\n-sharing his thoughts and conclusions.\n\nWith this research, Dimitris hopes to help other drum-students:\n-explore these 'unconventional' styles of comping\n-improve their time & co-ordination\n-search for their own style.<\/jats:p>","DOI":"10.22501\/koncon.1157888","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:40:02Z","timestamp":1725921602000},"source":"Crossref","is-referenced-by-count":0,"title":["JAZZ DRUMS: 5 unconventional comping examples"],"prefix":"10.22501","author":[{"family":"Dimitris Koutantos","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:38Z","timestamp":1727193398000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1157888\/1163382"}},"issued":{"date-parts":[[2021,6,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1157888","published":{"date-parts":[[2021,6,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:24Z","timestamp":1727238744013},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2017,6,7]]},"abstract":"This bilingual exposition (English and Swedish) presents and problematizes the relationship between artistic practice and habit, describing two projects that deal with repetition and place. The projects 'Solsidan' and 'Summer at S\u00f6der' were undertaken during the years 2015-2016 in Stockholm. The idea of repetition and returning to the same site were crucial, as in much of my previous works. Unlike them, neither of these two projects involved performances for camera; in both the actual practice consisted of video recording the view. The shift in emphasis from an artistic practice aiming to produce an artwork, into an activity undertaken mainly as an exercise, an activity, could be seen as a strand in the general trend in contemporary art since the 1960s and accentuated in this century towards valuing the 'working' of art above the work of art as an object. This trend can also be related to research and linked to the preference for various terms like practice as research, performance as research, creative arts research or, indeed, artistic research. - This exposition combines a description of the actual practice, with an encounter with the material generated through that practice and proposes that these works can exemplify artistic research as a speculative practice.<\/jats:p>","DOI":"10.22501\/ruu.292065","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:06Z","timestamp":1503649446000},"source":"Crossref","is-referenced-by-count":0,"title":["Practicing art - as a habit? \/ Att ut\u00f6va konst - som en vana?"],"prefix":"10.22501","author":[{"family":"Annette Arlander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:03:41Z","timestamp":1727193821000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/292065\/292066"}},"issued":{"date-parts":[[2017,6,7]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/ruu.292065","published":{"date-parts":[[2017,6,7]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:03Z","timestamp":1727238663404},"posted":{"date-parts":[[2023,8,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"METADS stands for \u201cMusic Education Through Autobiographical Digital Storytelling\u201d. It\u2019s a special initiative for furthering interdisciplinary arts thinking and production that is inspired by music. METADS\u2019 history started in 2017 with Jeffrey Cobbold\u2019s musically rich digital audio sermon album focused on his autobiographical story as a music educator. Included in the sermon are observational digital stories of various music students, which offer approaches to confronting fear through various modes of truth-telling.\n\nIn 2020 METADS was mastered by audio engineer Johnny O, who also sang on the song \"JOURNAL PROMPT\" on the METADS album. The album\u2019s cover art was created by graphic designer Lauren Meyer. In 2021 METADS expanded into a visual art project through Cobbold\u2019s invitation to Meyer to create visualizations for the digital audio sermon album into a comprehensive visual guide\/coloring book. Meyer\u2019s involvement in METADS has furthered its progression toward interdisciplinary arts thinking and production inspired by music and storytelling.\n\nFor the 14th SAR International Conference on Artistic Research, METADS makes an urgent appeal for music educators and musicians to tend to the stewardship of their relationships in music through the creation of their own autobiographical digital stories, offering them as artistic research in this sensitive area of our musical lives. This is an effort to improve professional practice through investigation of relational fears and the expression of rare relational truths that are often concealed or neglected. METADS also seeks to appeal to the non-musician at the conference who engages in personal storytelling inspired by music or other mediums with a concern for the moral fabric of their creative relationships.<\/jats:p>","DOI":"10.22501\/rc.1806807","type":"posted-content","created":{"date-parts":[[2023,8,1]],"date-time":"2023-08-01T18:47:05Z","timestamp":1690915625000},"source":"Crossref","is-referenced-by-count":0,"title":["Music Education Through Autobiographical Digital Storytelling (METADS) at the 14th SAR International Conference on Artistic Research"],"prefix":"10.22501","author":[{"family":"Jeffrey Cobbold","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:34Z","timestamp":1727192554000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1806807\/1806733"}},"issued":{"date-parts":[[2023,8,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1806807","published":{"date-parts":[[2023,8,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:06Z","timestamp":1727238666711},"posted":{"date-parts":[[2022,3,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"PhD submission \/ Dissertation<\/jats:p>","DOI":"10.22501\/rc.1561886","type":"posted-content","created":{"date-parts":[[2022,3,18]],"date-time":"2022-03-18T15:54:07Z","timestamp":1647618847000},"source":"Crossref","is-referenced-by-count":0,"title":["The Objectivity Laboratory: Propositions on Documentary Photography"],"prefix":"10.22501","author":[{"family":"Kerstin Hamilton","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:45Z","timestamp":1727192685000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1561886\/1561887"}},"issued":{"date-parts":[[2022,3,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1561886","published":{"date-parts":[[2022,3,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667871},"posted":{"date-parts":[[2021,4,29]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research was conducted to reveal a deeper understanding of my artistic practice that moves in between redefining my urban dance practice and an opening to ideas of contemporary choreography.\nBased on studio sessions, interviews and reflections and using a variety of modalities for documentation, this practice-led research expands my artistic practice, bringing in sources of inspiration from dance, pedagogy, sociology and philosophy.\nThe main outcomes channeled into an emerging methodology that provides strategies to develop co-creative contemporary choreography.\nThis methodology can serve diverse creative contexts that foster the wish to collaborate and be imaginative.\nEmbedded in an upcoming artistic community of urban dance based choreographers this research seeks to define my space within the landscape of contemporary choreography.<\/jats:p>","DOI":"10.22501\/rc.1229308","type":"posted-content","created":{"date-parts":[[2021,4,29]],"date-time":"2021-04-29T15:53:30Z","timestamp":1619711610000},"source":"Crossref","is-referenced-by-count":0,"title":["negotiating the space in between"],"prefix":"10.22501","author":[{"family":"Jonas Frey","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:47Z","timestamp":1727192807000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1229308\/1229229"}},"issued":{"date-parts":[[2021,4,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1229308","published":{"date-parts":[[2021,4,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671370},"posted":{"date-parts":[[2014,6,7]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Spirituality reigns supreme in art. Known as the driving force of art, spirituality is art's expressive vehicle as well as a special voice. Human history of arts has never been devoid of spiritual content; artists studied the relationship between art and the spirit for decades. However, during the nineteenth century, technological advancements temporarily eclipsed this relation. Thanks to the radical changes in the progress of arts, spirituality in art resurfaced again (Efland 1990). With the material advances falling short of human expectations in understanding the reality of self, 'arts began once again to be proclaimed as important sources of spiritual insight necessary for the welfare of society' (Efland 1990, p. 51). In view of this, many questions started to gain momentum in academic circles. Such as, when and how does spirituality manifest in art? Is spirituality in art and art education purely a religious concern? Is there a spiritual impetus that fosters creativity? While trying to explain these questions, researchers confronted a few more enquiries of equal importance. For example, what is the connection between spiritual and art education and why has this branch of art (spiritual in art education) received less attention in academic literature and art rooms (London 2007)?\n\nThis study aims to shed some light on these questions and following on the findings, analyse (a) the role of spirituality in art and art education; and (b) how an artist-teacher can deal with the issues of spirituality in art making and classroom practices? For clarity, the essay initially focuses on spirituality, its position among children and art education. Next follows an investigation of the role of artist-teacher in nurturing the spirituality of children through art, including a brief account of my art practice. Finally, conclusions are drawn about my understanding of spirituality and the learning experiences of my students in the light of the aforementioned questions.<\/jats:p>","DOI":"10.22501\/rc.80460","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:54:57Z","timestamp":1498067697000},"source":"Crossref","is-referenced-by-count":0,"title":["The role of spirituality in art education"],"prefix":"10.22501","author":[{"family":"Syed Gowhar Andrabi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:31Z","timestamp":1727193031000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/80460\/80461"}},"issued":{"date-parts":[[2014,6,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.80460","published":{"date-parts":[[2014,6,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671735},"posted":{"date-parts":[[2014,4,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"TuscanChinese is a long-term project regarding agricultural, culinary and convivial practices of Chinese migrants living in the outskirt between Florence and Prato. The aim is to rethink, through the lens of migration, the Italian identity in a generative way.<\/jats:p>","DOI":"10.22501\/rc.66263","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:05Z","timestamp":1498067705000},"source":"Crossref","is-referenced-by-count":0,"title":["TuscanChinese"],"prefix":"10.22501","author":[{"family":"Leone Contini","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:29Z","timestamp":1727193029000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/66263\/66264"}},"issued":{"date-parts":[[2014,4,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.66263","published":{"date-parts":[[2014,4,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671839},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,12,29]]},"abstract":"This exposition articulates tacit knowledge in processes associated with contemporary Traditional music practice in Scotland. Using a case study experiment and a series of workshop performances recorded in 2008, I examine the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians. In particular, examples of in-performance communication and collaboration emerge.<\/jats:p>","DOI":"10.22501\/jar.810342","type":"journal-article","created":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T11:27:55Z","timestamp":1672313275000},"source":"Crossref","is-referenced-by-count":0,"title":["Structures for Freedom: In-performance communication in Traditional musicians in Scotland"],"prefix":"10.22501","author":[{"family":"Lori Watson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:30Z","timestamp":1727193090000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/810342\/1855076"}},"issued":{"date-parts":[[2022,12,29]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jar.810342","published":{"date-parts":[[2022,12,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:24Z","timestamp":1727238684029},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"Ant-ic Intra-Actions \u2013 an experiential exploration of artistic co-production with wood ants.<\/jats:p>","DOI":"10.22501\/ruu.371152","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T15:49:37Z","timestamp":1538236177000},"source":"Crossref","is-referenced-by-count":0,"title":["Ant-ic Intra-Actions"],"prefix":"10.22501","author":[{"family":"Fiona MacDonald","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:49Z","timestamp":1727193769000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/371152\/371153"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.371152","published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202862},"posted":{"date-parts":[[2022,7,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"Composing with piezo\" is the title of my doctoral research which concerns the composition of instrumental music implemented with a specific use of piezoelectric microphones. During the research process, I explored a peculiar use of this technology not only to disclose and amplify the instrumental sound but also to produce otherwise unheard sounds, through a reinterpretation of some instrumental gestures, such as glissando, tapping, scraping, etc, produced by playing with the microphone directly on the instrument. Mainly because of the non-linear quality of unprocessed piezoelectric microphones, which thus present limits and different degrees of controllability and predictability - their introduction in my compositional work changed the relationships with the instrumental sound matter, bringing to question different aspects of my compositional approach. Therefore, during the whole research process, I looked for frameworks, theories, and examples, to understand and bring focus to my evolving compositional practice.<\/jats:p>","DOI":"10.22501\/rc.1441327","type":"posted-content","created":{"date-parts":[[2022,7,6]],"date-time":"2022-07-06T20:29:43Z","timestamp":1657139383000},"source":"Crossref","is-referenced-by-count":0,"title":["COMPOSING with PIEZO"],"prefix":"10.22501","author":[{"family":"daniela fantechi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:22Z","timestamp":1727192662000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1441327\/1441328"}},"issued":{"date-parts":[[2022,7,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1441327","published":{"date-parts":[[2022,7,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:03Z","timestamp":1727194203963},"posted":{"date-parts":[[2019,11,15]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Music has the fundamental ability to open up spaces of intersubjectivity and social interaction. When two people engage in making music together, questions surrounding relationality arise: As a duo, the two individuals can musically act together in various ways. In fact, it is the wide range of relationality, from close attachment to the possibility of crisis, dissociation, or at least the struggle for togetherness, that unleashes the artistic potential.\n\nConfronting a piece of music, the question of relationship is prompted by music itself. To answer this question, the duo negotiates relational qualities through the process of interpretation. Together with the violinist Johanna Ruppert, I aim to explore how a developing interpersonal dynamic can be challenged and how it may respond to an audience that is made aware of the relational potential in the duo situation. \n\nIn an open rehearsal format, we experiment with choreographic elements and \n(extra-musical) objects that can facilitate interaction. This performative approach allows to shift focus between different aspects of relation, such as connectivity, trust, resonance, fragility, embodiment or shared space. Drawing on the concept of musical empathy (Deniz Peters 2017) and joint feeling (Angelika Krebs 2015), this also entails questioning how empathetic processes, between co-performers as well as performers and listener, can be induced or intensified, without construing an artificial narrative.\n\nIn a live research situation, the audience is called upon interfering and interacting with us as a duo. This may be by moving through the room, (re-)positioning us and\/or themselves or intervening with vocal statements. Objects such as threads, ties, hoops or clothes can be used as additional provocative means. Venturing into a state of crisis, our relationship shall be put to the test, only to give rise to new possibilities of relation and eventually to come out of this crisis \u2013 strengthened in our togetherness.<\/jats:p>","DOI":"10.22501\/rc.733948","type":"posted-content","created":{"date-parts":[[2019,11,15]],"date-time":"2019-11-15T08:00:22Z","timestamp":1573804822000},"source":"Crossref","is-referenced-by-count":0,"title":["The Musical Dyad - Crisis and Growth through Music"],"prefix":"10.22501","author":[{"family":"Jessica Kaiser","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:50Z","timestamp":1727192930000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/733948\/733949"}},"issued":{"date-parts":[[2019,11,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.733948","published":{"date-parts":[[2019,11,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:09Z","timestamp":1727194209479},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"In this research I would like to investigate the psychological aspect related to the practice of a musical instrument, going deeper into the experience of the flow state that the musician can live intensely. It is a state of mind of complete absorption in what one is doing. \n\nThe process started by reading and informing myself as much as possible through books, articles, and personal experience. Based on these I created a strategy of work and exercises that would help me to be more focused and inside the music both in my studies and especially in my performances. \n\nI prepared two questionnaires to be filled in after the performances: \n\n1) Personal Questionnaire \n\n2) Group of critical friends \n\nTo check whether the strategy I had been using over the last few months was helping me to achieve my goal or not. \n\nFrom the results of the two questionnaires until now, I can deduce the most effective and useful aspects of the strategy I implemented. It is also interesting to see how the suggestions of critical friends are similar to the \"criticism\" I made myself in the personal questionnaire. \n\nOver the last few weeks while analysing my latest performances and the results of the questionnaires, I have realised an increase in pleasure in playing and concentration on the task to do, which was not always present before I started this work. I am quite convinced that whatever strategy you want to use, you need patience to see over time if it really works.<\/jats:p>","DOI":"10.22501\/koncon.1433187","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:20Z","timestamp":1725921500000},"source":"Crossref","is-referenced-by-count":0,"title":["Flow, The Optimal Experience"],"prefix":"10.22501","author":[{"family":"Francesco\u00a0Siri","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:58Z","timestamp":1727193358000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1433187\/1433188"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1433187","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:10Z","timestamp":1727194210161},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,11,19]]},"abstract":"Name: Federico Forla\n\nMain Subject: Oboe\n\nResearch supervisor: Wouter Verschuren\n\nTitle of Research:\nPerforming the 'Group of the Six'\n\nResearch Question:\nWhich are the common aesthetic aspects found in the Group of the Six? How can one exemplify it in the performance?\n\nSummary of Results:\nA new French style starts to develop at the beginning of twentieth-century. This style will flourish and develop trough all the century. We can find in the 'Group of the Six' a first controversial example of this new aesthetic. In my research I used historical sources, writings of the composers and writers of the time, together with detailed analysis of representative compositions. Merging all this information, I was able to create a clearer picture of the new French aesthetic of the 'Group of the Six'. Performance practice is a central aspect: specific examples of the aesthetic's reflection in the scores are intended as a suggestion for the execution. A case-study at the end of the research shows a practical example of how the collected information can be used and related within a specific piece.\n\n\nBiography:\nSince the beginning of my musical studies I got really interested in chamber music. It was for me the most direct, simple and democratic way to make music together. In the following years this interest persisted, giving me the urge to explore and experiment new repertoire. My initial period at the Royal Conservatoire was characterized by my first serious approach to French chamber music of twentieth-century. My research was inspired by the issues, doubts and reflections of that period.<\/jats:p>","DOI":"10.22501\/koncon.115543","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:43:25Z","timestamp":1725921805000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing the 'Group of the Six'"],"prefix":"10.22501","author":[{"family":"Federico Forla","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:16Z","timestamp":1727193436000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/115543\/115544"}},"issued":{"date-parts":[[2018,11,19]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.115543","published":{"date-parts":[[2018,11,19]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:13Z","timestamp":1727194213297},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,10,26]]},"abstract":"It would be more than reductive to say that art is not created in a vacuum. Simply said, all art exists in a context, and said context includes medium, genre, style, and idiom, amongst other things. In the realm of Western music, much insight has been given regarding quotation, and less so regarding subtler applications of stylistic, generic, and idiomatic thought in composition. So, if all music exists in a specific context, how can composers creatively account for context in their compositions? This research seeks to answer this question by outlining methodologies via analysis of relevant works. Given the background and musical focus of the researcher, this research predominantly focuses on musical works that adapt or interact with Latin-American folkloric music and traditions, with many works dealing specifically with Venezuelan and Cuban folklore.<\/jats:p>","DOI":"10.22501\/koncon.2055576","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:23Z","timestamp":1725921383000},"source":"Crossref","is-referenced-by-count":0,"title":["New (old) Music - Intercontextual Compositional Methodologies"],"prefix":"10.22501","author":[{"family":"Mart\u00edn Mayo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:05Z","timestamp":1727193305000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2055576\/2055577"}},"issued":{"date-parts":[[2023,10,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2055576","published":{"date-parts":[[2023,10,26]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:34Z","timestamp":1727194234751},"posted":{"date-parts":[[2023,9,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Exploring the sound of the parking garage in the building where I live, using cheap Casio electric keyboards, low end melodicas and a recorder. All instruments, electronic or not, have been played live in the garage as if they were purely acoustic instruments, making this an artistic exposition exclusively, intended to make people consider and reflect upon what can be done with humble instruments in the right sonic environment.\n\nVideos shot with an iPhone 5. No overdubs, mix, mastering or other tampering with the actual sound.<\/jats:p>","DOI":"10.22501\/rc.2293039","type":"posted-content","created":{"date-parts":[[2023,9,18]],"date-time":"2023-09-18T12:26:31Z","timestamp":1695039991000},"source":"Crossref","is-referenced-by-count":0,"title":["The Garage Tapes"],"prefix":"10.22501","author":[{"family":"Tor Einar Bekken","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:29Z","timestamp":1727192549000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2293039\/2293040"}},"issued":{"date-parts":[[2023,9,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2293039","published":{"date-parts":[[2023,9,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:06Z","timestamp":1727196006448},"posted":{"date-parts":[[2018,4,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Free improvised music allows me as a musician to be able to change direction at any time. Free improvised music is the only form of music where I can completely change my way of playing depending on the character of the room or the space. The room becomes a co-player that I can either go along with or resist. In my project I investigate different ways to explore and clarify how changes of direction in free improvisation can be performed and how the spatial conditions and other conditions affect the way the music is played. The form of improvised music I am examining is extremely dialogue-oriented, where action and reaction within the dialogue in the room play a vital role in the process. What I would like to try out and demonstrate is how a sonic language entirely based on the participants\u2019 sensitivity can be moulded, i.e. a language that is altogether based on the listening and playing of a person in a particular space. The sounding image process that becomes a link to the narrative text. Through the use of sound, text and image, and all their mixed forms, and drawing from my experiences as a musician and composer, I hope it will be possible for you to follow this twisty way toward something.<\/jats:p>","DOI":"10.22501\/vis.392592","type":"posted-content","created":{"date-parts":[[2018,5,5]],"date-time":"2018-05-05T08:53:00Z","timestamp":1525510380000},"source":"Crossref","is-referenced-by-count":0,"title":["V e r t i k a l a k u s t i k med horisontell prosodi"],"prefix":"10.22501","author":[{"family":"sten sandell","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:17Z","timestamp":1727194157000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/392592\/392593"}},"issued":{"date-parts":[[2018,4,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/vis.392592","published":{"date-parts":[[2018,4,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:17Z","timestamp":1727238677308},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,7,8]]},"abstract":"Many musicians think that experiencing and showing vulnerability is a weakness. I see it differently. To share our music with the world, without any assurance of acceptance or appreciation, is to be vulnerable; to be real, to choose courage over comfort, to take off your mask, is vulnerability. The exposure and risk we face, are not optional. In my own musical journey, I discovered that I cannot escape vulnerability on stage. What if embracing our vulnerability is key to convincing, yet authentic performances?\n\nThis research is not about finding the magic solution for performance anxiety. It is not about avoiding vulnerability, but about embracing it. Embracing vulnerability starts with defining, recognizing and understanding it. That is exactly where this research started: a literature review was done and experts in the field of psychology were interviewed. This led to the design of strategies that can help embracing vulnerability when performing and when preparing a performance. These strategies are used in an intervention over 13 performances that have been documented with audio\/video recordings, a journal and a self-questionnaire. \n\nResults show that performance preparation is a crucial element in dealing with vulnerability. Also, embracing vulnerability led to more experiences of \u2018flow\u2019, enhanced focus and increased trust in my abilities to perform music. Besides, I felt more authentic as a performer. These findings, although subjective, provide insights and strategies that could be of great benefit to other musicians.<\/jats:p>","DOI":"10.22501\/koncon.703190","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:39:40Z","timestamp":1725921580000},"source":"Crossref","is-referenced-by-count":0,"title":["Taking off the mask: embracing vulnerability on stage"],"prefix":"10.22501","author":[{"family":"Marlon Valk","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:29Z","timestamp":1727193389000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/703190\/703191"}},"issued":{"date-parts":[[2021,7,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.703190","published":{"date-parts":[[2021,7,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:18Z","timestamp":1727238678605},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"Name: Rachel Mills\u2028\u2028Main \n\nSubject: Classical Cello\u2028\u2028Research \n\nSupervisor: Stefan Petrovic\u2028\u2028\n\nTitle of Research: Intentional Listening\u2028\u2028\n\nResearch Question: \nHow does listening to recordings while learning a piece affect one\u2019s artistic interpretation?\u2028\u2028Summary of \n\nResults:\u2028\nSince beginning my masters, I have been intrigued with the concept of finding personal interpretations for the pieces I play. However, I found that when confronted with a standard take on a piece, I would doubt the legitimacy and usefulness of my own ideas. As a result, my research aimed to discover ways for myself and other studying musicians to find individuality in their music. Because the ease of access to recordings is such an important influence for musicians, this research focuses on how students can refer to recordings without allowing them to override personal creativity.\u2028The resulting research emphasizes the importance of intention, both in consulting recordings and in creating takes that one believes in. I have identified five ways to use recordings to help one determine a reason for consulting them. In addition, I have discovered a process of recording myself and intentionally listening to these recordings with a focus on my interpretation\u2019s effectiveness. It is my hope that these processes will also work as a suggestion for other advance music students working towards discovering their artistic identity.\u2028\u2028\n\nBiography:\u2028\nRachel Mills is pursuing a master degree at the Royal Conservatoire of The Hague where she studies with Jan Ype Nota and Michel Strauss.\u00a0A native of New York State, she received her bachelors from Oberlin Conservatory in Ohio under Amir Eldan.\u00a0While at Oberlin, Mills performed both as a soloist and with her quartet on multiple honors recitals and collaborated on recording projects with the Contemporary Music Ensemble, Oberlin Orchestra, and Sinfoniette.\u00a0She has frequently sat principle cellist in student ensembles, including the New York State All-State Orchestra and on the Oberlin Orchestra\u2019s most recent tour to Chicago\u2019s Symphony Center.\u00a0 Mills has also participated in advanced and fellowship chamber music programs across the United States.\u00a0In addition to her studies, Mills is passionate about finding ways to inspire young people to engage with classical music. In doing so, she thrice traveled to Panama to teach and perform in connection with the National Music Association there.<\/jats:p>","DOI":"10.22501\/koncon.299978","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:43:52Z","timestamp":1725921832000},"source":"Crossref","is-referenced-by-count":0,"title":["Intentional Listening"],"prefix":"10.22501","author":[{"family":"Rachel\tMills","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:21Z","timestamp":1727193441000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/299978\/299979"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.299978","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T16:26:44Z","timestamp":1754152004820,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2025,4,8]],"date-time":"2025-04-08T00:00:00Z","timestamp":1744070400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2025,4,8]]},"abstract":"HACKING SOUND SENSORIALITY_how to build embodied sound objects for electroacoustic music with lofi techniques\n\nDisembodiment is not new and does not only exist because of the current technological reality. It is an experience that various practitioners, in the field of music, experience constantly. The composer\/producer\/musician\/sound designer moves the material. The listener only perceives its virtual representation. How to bridge the gap between the bodily experience of sound creation and its fruition and further (re)creation in the virtual world? By using synesthesia in the creation of an object-based sound method and vocabulary with the use of lofi techniques. A synesthesia of sensory roots to place the body-cosmos at the centre of sound, to make this simulacrum of identity a bridge between the articulate and the inarticulate, between the real and the virtual. Lofi thought, with its techniques for creating and modifying sound, has a new vision of technology, linked to knowledge and memories of the body.\n\nThe aim is to design a new vocabulary of tools and methods for the creation of sound objects with different degrees of embodiment. These sound objects will be designed to live in two worlds: in the disembodied world of the virtual and in the material world of corporeal sonority.\n\nThe article explores the use of a practical and philosophical hacking that does not colonise the new virtual sound territories, emptying them of resources and meanings, but amplifies them through the semiotics of the ancient territories of the body, in order to make them habitable and fertile.<\/jats:p>\n keywords: sound design, electroacoustic music composition, lofi, embodied methodology, electronic and electroacoustic music, production process, studio as a compositional tool, recording studio production, hacking, sound art, music technology<\/jats:p>","DOI":"10.22501\/artact.3233312","type":"journal-article","created":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:42Z","timestamp":1753096722000},"source":"Crossref","is-referenced-by-count":0,"title":["HACKING SOUND SENSORIALITY"],"prefix":"10.22501","author":[{"family":"Marie Rose Sarri","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:42Z","timestamp":1753096722000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3233312\/3233313"}},"issued":{"date-parts":[[2025,4,8]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/artact.3233312","published":{"date-parts":[[2025,4,8]]}},{"indexed":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T09:40:20Z","timestamp":1756374020755,"version":"3.44.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T00:00:00Z","timestamp":1756339200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2025,8,28]]},"abstract":"This exposition contains documentation of the artistic result of Magnhild \u00d8en Nordahls artistic research PhD project Unmaking Abstractions. The exposition also contains the artistic reflection for the same project. On the exposition's landing page the reader can access its different components by clicking different sides of the unfolded cube. The rotating cube in the upper right corner will bring the reader back to the landing page.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/kmd-ar.2836324","type":"journal-article","created":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T09:08:05Z","timestamp":1756372085000},"source":"Crossref","is-referenced-by-count":0,"title":["Unmaking Abstractions"],"prefix":"10.22501","author":[{"family":"Magnhild Nordahl \u00d8en","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T09:08:06Z","timestamp":1756372086000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2836324\/2864676"}},"issued":{"date-parts":[[2025,8,28]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.2836324","published":{"date-parts":[[2025,8,28]]}},{"indexed":{"date-parts":[[2026,3,31]],"date-time":"2026-03-31T16:37:55Z","timestamp":1774975075966,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,31]],"date-time":"2026-03-31T00:00:00Z","timestamp":1774915200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A crack in a 1000 year old Chinese porcelain bowl was mended with Urushi and gold. Can the idea of Kin Tsugi be expanded into the biological realm? Can we re-enact this repair with the help of micro-organisms?The attempt to heal the crack lies at the core of this artistic research that touches on disciplines like material science, synthetic biology and bioethics. The work comprises reproductions of l\u2019assiette chinoise du Mus\u00e9e Royal de Mariemont, experiments in the microbiological laboratory and a re-enactment of the crack with a co-culture of mycelium and calcifying bacteria.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4151120","type":"posted-content","created":{"date-parts":[[2026,3,31]],"date-time":"2026-03-31T14:58:56Z","timestamp":1774969136000},"source":"Crossref","is-referenced-by-count":0,"title":["Re-enacting a Crack"],"prefix":"10.22501","author":[{"family":"Christina Stadlbauer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,31]],"date-time":"2026-03-31T14:58:56Z","timestamp":1774969136000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4151120\/4151121"}},"issued":{"date-parts":[[2026,3,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4151120","published":{"date-parts":[[2026,3,31]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,4,25]],"date-time":"2026-04-25T09:48:02Z","timestamp":1777110482931,"version":"3.51.4"},"posted":{"date-parts":[[2026,4,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,25]],"date-time":"2026-04-25T00:00:00Z","timestamp":1777075200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research developed a Jathilan kendhang prototype using recycled materials such as PVC banners and LDPE plastic bags to replace traditional materials like wood and animal skins, aiming to reduce plastic waste while maintaining the acoustic function of the musical instrument. The practice-led research method was applied through the processes of design, experimentation, and reflection, where the stave and jig technique was used to shape the kendhang body from PVC, while the plastic membrane was produced using a heat press system to achieve optimal thickness and tension. The results show that kendhang made from recycled materials can produce quality sound and function well in Jathilan performances, while also contributing to sustainable waste management. This project demonstrates the potential of waste materials in traditional arts, supports the concept of a circular economy, and plays an important role in integrating art, technology, and environmental sustainability to promote more sustainable cultural tourism.<\/jats:p>\n keywords: Recycled materials, Jathilan drum, Practice-led research, Multiflex bending, Recycling materials, jathilan, drum, practice led research, multiflex, bending<\/jats:p>","DOI":"10.22501\/rc.3226375","type":"posted-content","created":{"date-parts":[[2026,4,25]],"date-time":"2026-04-25T09:16:10Z","timestamp":1777108570000},"source":"Crossref","is-referenced-by-count":0,"title":["Jathilan Drum Prototype Made from Recycled Flexi Plastic"],"prefix":"10.22501","author":[{"family":"Moch Hasrul Indrabakti","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,4,25]],"date-time":"2026-04-25T09:16:10Z","timestamp":1777108570000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3226375\/3226376"}},"issued":{"date-parts":[[2026,4,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3226375","published":{"date-parts":[[2026,4,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T07:45:41Z","timestamp":1776757541964,"version":"3.51.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"-11","license":[{"start":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T00:00:00Z","timestamp":1776729600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2026,4,21]]},"abstract":"Sound~Currents grows elaborate musical ecosystems where sounds from electronic and acoustic instruments ripple through one another in a resonant, electromagnetic field. The resonances among instruments, people, and spaces are physically and conceptually interlinked and guide how we make music together. When fixing transducer speakers, electromotors, and microphones inside musical instruments in ensembles, a symbiotic, tactile network emerges in which the sounds from one can vibrate the surfaces, membranes, and strings of the other. This practice enables a queering of agency where one is reciprocally \"sounding through\" and \"playing\" the other. It establishes a uniquely interwoven sonic ecology, where borders between electronic sounds, acoustic instruments, and actants become fuzzy. This ambiguity creates a rich, shared sonic environment, resulting in a broad portfolio of artistic outcomes. Sound~Currents explores how resonance, technologically engendered through vibrational transduction, unveils other pathways to co-creation and alternative listening modes, thereby challenging, expanding, and diversifying current improvisational music practice. When transducer speakers shake, we can listen with our skin. When they overheat, we smell sounds escaping the human ear. The PhD result comprises a concert in Bergen on November 29, 2025, and a Research Catalogue exposition. The RC exposition documents the final concert and additional artistic outcomes, as well as material documenting artistic reflection.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/kmd-ar.1807422","type":"journal-article","created":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T07:01:21Z","timestamp":1776754881000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound~Currents"],"prefix":"10.22501","author":[{"family":"Stephan Meidell","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T07:01:22Z","timestamp":1776754882000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1807422\/3945954"}},"issued":{"date-parts":[[2026,4,21]]},"references-count":0,"journal-issue":{"issue":"-11"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1807422","published":{"date-parts":[[2026,4,21]]}},{"indexed":{"date-parts":[[2025,10,2]],"date-time":"2025-10-02T00:43:34Z","timestamp":1759365814360,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T00:00:00Z","timestamp":1759276800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"Grain: Mediator Between East and West\" is an image-led, cross-temporal exploration of bread wheat as both a commodity and a metaphor. Drawing on its historical and practical ubiquity as a staple grain in agrarian (Eastern) Europe, wheat emerges as the focal medium through which cultural and geopolitical narratives are revealed. What narratives does bread wheat carry, and what is entangled within localised perspectives? To what extent does the cultural history of grain intersect with modern grain infrastructures, whereby wheat transforms from an elemental medium into a mediator between East and West? Through thinking with and about grain, this work interrogates the gaps, overlaps and resonances between East and West, the post-war Soviet 1940s and the present day, repositioning wheat as a cultural mediator.\n\nThis Master's project was conducted within the European Media Studies program at the University of Potsdam and University of Applied Sciences Potsdam, August 2025.<\/jats:p>\n keywords: grain, Media studies, entanglement, cultural history, agriculture<\/jats:p>","DOI":"10.22501\/rc.3583770","type":"posted-content","created":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T11:40:26Z","timestamp":1759318826000},"source":"Crossref","is-referenced-by-count":0,"title":["Grain: Mediator Between East and West"],"prefix":"10.22501","author":[{"family":"Kateryna Tykhonenko","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T11:40:26Z","timestamp":1759318826000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3583770\/3583771"}},"issued":{"date-parts":[[2025,10,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3583770","published":{"date-parts":[[2025,10,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,11,20]],"date-time":"2025-11-20T09:18:00Z","timestamp":1763630280347,"version":"3.45.0"},"posted":{"date-parts":[[2025,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,20]],"date-time":"2025-11-20T00:00:00Z","timestamp":1763596800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In my 2013 paper The (un)necessary self (Frisk 2013) I explored the idea of giving up of the self as an important step towards the dismantling of the romantic idea of creation, and approach an understanding of creativity that is more closely aligned with the other. The other should be understood as anything that affects the artistic practice: a co-creator, a listener, a participant or a remote collaborator as well as any non-human actor. The point was to move the focus from the creator to what is created and to understand the roles of the various agents involved. This idea is further developed in this paper through several new trajectories.In music, hyper-capitalism of the twenty first century is eager to commodify the artistic output, the artist, as well as the listeners. This is not only a problem for the freedom of art (a concept equally complex), it also makes the role of the self difficult to understand. But in the radicalization of the role of the creator, both a new work concept and a review of the self become necessary, even beyond the notion of giving up of the self. The ethics in artistic practices, that is, the moral values that are expressed through artistic practices in music, specifically improvisation, may complement traditional views on ethics and form an important aspect when discussing the roles of the self. The notion of the Care of the Self, as discussed in Michel Foucault's Volume Three of the History of Sexuality, is used as a method to approach this complex area.<\/jats:p>\n keywords: electroacoustic music, obsolete instruments, improvisation<\/jats:p>","DOI":"10.22501\/rc.3851172","type":"posted-content","created":{"date-parts":[[2025,11,20]],"date-time":"2025-11-20T09:14:41Z","timestamp":1763630081000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond the unnecessary self"],"prefix":"10.22501","author":[{"family":"Henrik Frisk","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,20]],"date-time":"2025-11-20T09:14:41Z","timestamp":1763630081000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3851172\/3851173"}},"issued":{"date-parts":[[2025,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3851172","published":{"date-parts":[[2025,11,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,11,27]],"date-time":"2025-11-27T10:05:20Z","timestamp":1764237920191,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,11,27]],"date-time":"2025-11-27T00:00:00Z","timestamp":1764201600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uis"],"published-print":{"date-parts":[[2025,11,27]]},"abstract":"Den akustiske og improviserte musikken er fundamentert p\u00e5 modeller som tar utgangspunkt i kollektivitet og samspill. Utgivelser av denne musikken baserer seg p\u00e5 \u00e5 spille inn og dokumentere former for samspill, og alts\u00e5 lydfeste situasjoner som har foreg\u00e5tt samtidig og i samme rom. \u2018Stilarten\u2019 vi karakteriserer som st\u00f8ymusikk er i h\u00f8yeste grad ogs\u00e5 basert p\u00e5 samspill, men hvor innspillings- og utgivelsesprosessen er tuftet p\u00e5 andre kreative og skapende modeller. Her er prosessene rundt tid og rom ofte konstruert og manipulert via digitale eller analoge teknologier. Point of Return (improvisatoriske referansepunkt i tid og rom) er et prosjekt som g\u00e5r ut p\u00e5 \u00e5 finne overf\u00f8ringsverdi mellom modellene, prosessene, rommene og bruken av tid. St\u00f8rste del av platesamlinga mi best\u00e5r av innspillinger fra 1960-tallet, for det meste jazzutgivelser fra USA, litt mindre av den s\u00e5kalte europeiske improviserte musikken. Flesteparten er live-innspillinger tror jeg. Det er i hvert fall de jeg oftest setter p\u00e5 n\u00e5r jeg er alene hjemme \u2013 alts\u00e5 live platene. Etter hvert har vi blitt flere i husholdningen som jeg gledelig deler platesamlinga mi med, men ettersom min eldste datter p\u00e5 snart 8 \u00e5r ikke har det samme romantiske (og analytiske) forholdet til den improviserte, akustiske og instrumentale musikken som meg, og ettersom jeg ikke har det samme romantiske forholdet til hennes Spotify-liste, har vi funnet ut at Beatles er noe vi begge kan sette p\u00e5, noe begge kan nyte og synge med p\u00e5. Vi har funnet fram til musikk innspilt lenge f\u00f8r vi begge ble f\u00f8dt, men som begge har en emosjonell referanse til. Et lite segment av samlinga mi best\u00e5r av utgivelser fra den s\u00e5kalte st\u00f8ymusikken. Disse platene h\u00f8rer jeg sjelden p\u00e5 (m\u00e5 jeg innr\u00f8mme). Innkj\u00f8pene er som regel utf\u00f8rt p\u00e5 grunnlag av (tidvis ikke helt edru) shopping p\u00e5 utenlandsreiser, og ofte p\u00e5 grunnlag av de kule omslagene. Likevel setter jeg stor pris p\u00e5 \u00e5 v\u00e6re publikum p\u00e5 konserter med annonsert st\u00f8ymusikk. Det er noe magisk med disse konsertene, og jeg setter stor pris p\u00e5 at jeg ikke kan \u2018sette fingeren\u2019 p\u00e5 hva det er jeg liker med dem. Det handler kanskje om et frav\u00e6r av analytiske egenskaper n\u00e5r det gjelder denne stilarten, jeg er litt \u2018novise\u2019, den er ikke min. Konsertene transporterer meg bort fra et analytisk st\u00e5sted og jeg setter stor pris p\u00e5 det oppstykkede lydlandskapet og de uvanlige elektroniske og soniske strukturene i musikken.Ingen av st\u00f8ymusikkplatene i samlinga mi er spilt inn live, og nesten alle er spilt inn av to ut\u00f8vere, og p\u00e5 baksiden av omslagene oppgis det ofte at de har spilt inn musikken i hvert sitt studio, p\u00e5 ulik tid, men at utgivelsen likevel er produsert av begge to \u2013 som to adskilte og likeverdige improviserende komponister.Prosessen i mitt doktorgradsarbeid har i utgangspunktet g\u00e5tt ut p\u00e5 \u00e5 spille inn musikk fra \u00e9n og \u00e9n ut\u00f8ver i isolasjon, for s\u00e5 \u00e5 flytte dette innspilte materiale inn i en annen tid, i et annet sonisk rom, hvor musikken treffer (settes sammen med) annet innspilt improvisert materiale fra andre musikere. Arbeidet har i stor grad best\u00e5tt i \u00e5 eksperimentere med sammensetninger; versjoner av helheter, hvordan solistiske komponenter passer\/ikke passer sammen, og hvilke felles og forskjelligartede referanser som er hensiktsmessig \u00e5 benytte seg av i prosessen mot de offentliggjorte kunstneriske resultat.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uis.2086033","type":"journal-article","created":{"date-parts":[[2025,11,27]],"date-time":"2025-11-27T10:00:26Z","timestamp":1764237626000},"source":"Crossref","is-referenced-by-count":0,"title":["Point Of Return"],"prefix":"10.22501","author":[{"family":"Kristoffer Berre Alberts","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Stavanger"],"language":"en","deposited":{"date-parts":[[2025,11,27]],"date-time":"2025-11-27T10:00:26Z","timestamp":1764237626000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2086033\/2086034"}},"issued":{"date-parts":[[2025,11,27]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uis.2086033","published":{"date-parts":[[2025,11,27]]}},{"indexed":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:29:11Z","timestamp":1774445351475,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The body of work departs from a recording of the 6.3 Magnitude earthquake in the town on Amatrice in Italy on the 24th of August 2016. The recording of the earthquake was captured on seismographs run by the Department of Geosciences within the University of Malta. The works consists of 3 distinct aesthetic streams: Visual (2D); Aural; and Sculptural. Digital processes were utilised in order to rematerialize the original data into artefacts across media. In this case digital technology was utilised in order to understand seismic activity and vibration across modalities of art-making. Vibration is therefore approached from multiple angles, yielding identical results (in terms of what these artefacts consist of) expressed and understood through different sets of aesthetic values. An increasingly significant portion of human consciousness now resides within digital media, tempering the choices we make and informing our relationship with objects and environments. Digital media become therefore not only process and tools for the remediation between one modality and another but also a meaningful way of drawing new connections.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4184504","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T10:54:26Z","timestamp":1774436066000},"source":"Crossref","is-referenced-by-count":0,"title":["Earthquake Music (Drawing through the Teeth)"],"prefix":"10.22501","author":[{"family":"Matthew (Matyou) Galea","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T10:54:26Z","timestamp":1774436066000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4184504\/4184505"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4184504","published":{"date-parts":[[2026,3,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,12]],"date-time":"2026-03-12T08:47:29Z","timestamp":1773305249679,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,11]],"date-time":"2026-03-11T00:00:00Z","timestamp":1773187200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"My ongoing research is directed towards an eventual book publication exploring many different dimensions of creative collaboration in music, encompassing past, present and possible future, and focusing on collaborations I\u2019ve participated in while also contextualising these in an overview of creative synergies in many areas of music. The present chapter is a case study involving documentation and discussion of the process by which Milana Zari\u0107 and I produced our composition \"grottesche\", beginning from the ceiling frescos in the Uffizi in Florence (see illustration) and the 17th century multimedia artwork \"Atalanta fugiens\" compiled by Michael Maier. This led to the conception and realisation of a duo for harps and electronics which we first performed in March of 2025, and which was then developed over a period of months, in the course of a series of working sessions with the musicians of Ensemble Modelo62, into a composition for eight performers and video, which we premiered in December. The creative process was itself an improvisational composition, so to speak, combining planning and spontaneity in such a way as to suggest many possible pathways for future work as well as further developments of this one.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4271873","type":"posted-content","created":{"date-parts":[[2026,3,11]],"date-time":"2026-03-11T14:17:57Z","timestamp":1773238677000},"source":"Crossref","is-referenced-by-count":0,"title":["\"grottesche\" and collaborative music creation"],"prefix":"10.22501","author":[{"family":"Richard Barrett","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,11]],"date-time":"2026-03-11T14:17:57Z","timestamp":1773238677000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4271873\/4271872"}},"issued":{"date-parts":[[2026,3,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4271873","published":{"date-parts":[[2026,3,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,11]],"date-time":"2026-03-11T12:38:08Z","timestamp":1773232688220,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,10]],"date-time":"2026-03-10T00:00:00Z","timestamp":1773100800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Landscape Musician is a project that attempts to redefine improvisation through creative and spontaneous engagement with the natural environment. Drawing inspiration from outdoor locations in Finland, Switzerland and Wales, Chanan Hanspal investigates how the exchanges of forces between musician and environment create new improvisational possibilities. The environment also provides the inspiration for improvised musical impressionistic representations of each unique landscape.<\/jats:p>\n keywords: jazz, improvisation, composition, acoustic landscape, interspecies communication, guitar techniques, impressionism, behaviour settings, ecological psychology<\/jats:p>","DOI":"10.22501\/rc.4034467","type":"posted-content","created":{"date-parts":[[2026,3,10]],"date-time":"2026-03-10T16:05:38Z","timestamp":1773158738000},"source":"Crossref","is-referenced-by-count":0,"title":["The Landscape Musician"],"prefix":"10.22501","author":[{"family":"Chanan Hanspal","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,10]],"date-time":"2026-03-10T16:05:38Z","timestamp":1773158738000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4034467\/4034468"}},"issued":{"date-parts":[[2026,3,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4034467","published":{"date-parts":[[2026,3,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,28]],"date-time":"2026-03-28T09:06:51Z","timestamp":1774688811839,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,12,14]]},"abstract":"The Call to Prayer, the Adhaan, is one of the most instantly recognizable Islamic sounds that we might hear in our soundscape today. For Muslims, the Adhaan is a specific call to notify the Islamic community that the time for prayer has arrived. For those who are not trained to respond to it religiously, the experience of listening to the Adhaan can trigger the formation of different interpretations, sometimes in hostile ways, from its original intent. This paper looks at the Adhaan from the perspective of sound and suggests that the voice of the Mu\u2019adhin, who calls for prayer, carries with it the possibility to be perceived in manifold ways. Through the sound of the human voice and its pervasive nature, the Adhaan carries its original message, fusing it with new meanings, and announces it in a way unique to the voice. Guided by philosopher Ariana Cavarero\u2019s conception of the voice and referencing situations in The United States of America where the Adhaan was at the center of controversy, this paper approaches the Adhaan with a focus on the sound of the voice and the relations that it fosters both intentionally and unintentionally.<\/jats:p>","DOI":"10.22501\/jss.411744","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:30Z","timestamp":1733149650000},"source":"Crossref","is-referenced-by-count":1,"title":["The Relationality of the Adhaan: A Reading of the Islamic Call to Prayer Through Adriana Cavarero\u2019s Philosophy of Vocal Expression"],"prefix":"10.22501","author":[{"family":"Lutfi Othman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:40Z","timestamp":1733149660000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/411744\/411745"}},"issued":{"date-parts":[[2017,12,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jss.411744","published":{"date-parts":[[2017,12,14]]}},{"indexed":{"date-parts":[[2026,1,10]],"date-time":"2026-01-10T16:23:47Z","timestamp":1768062227195,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,10]],"date-time":"2026-01-10T00:00:00Z","timestamp":1768003200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Author: Dorian ValeAffiliation: Museum of One \u2014 Registered Archive and Independent Research Institute for Contemporary AestheticsMuseum of One|Written at the ThresholdAbstractThis essay argues that Post-Interpretive Criticism (PIC), through its diagnostic indices, represents the completion of a philosophical project initiated by Edmund Husserl and refined through Mikel Dufrenne\u2019s phenomenology of aesthetic experience. Where Husserl sought to unite mathematical rigor with phenomenological inquiry but lacked a suitable domain, and where Dufrenne applied phenomenology to aesthetics but remained purely descriptive, PIC operationalizes their insights through measurable linguistic behavior. The framework\u2019s five indices, Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI), structuralize Dufrenne\u2019s distinction between the work of art and the aesthetic object, while providing the mathematical formalization Husserl believed necessary for philosophy as rigorous science. This essay traces the intellectual lineage from Husserl\u2019s transcendental phenomenology through Dufrenne\u2019s aesthetic application to PIC\u2019s diagnostic formalization, demonstrating how the indices measure whether criticism honors or violates the phenomenological structure of aesthetic encounter. Furthermore, it shows how PIC\u2019s theoretical framework, particularly Stillmark and Hauntmark theories, completes Dufrenne\u2019s \u201cnever-ending dialectic\u201d by formalizing the ethical residue that remains after aesthetic experience.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946)Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Art encounter ethics, Language as violence, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Contemporary sacred aesthetics, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4108400","type":"posted-content","created":{"date-parts":[[2026,1,10]],"date-time":"2026-01-10T13:49:29Z","timestamp":1768052969000},"source":"Crossref","is-referenced-by-count":0,"title":["From Husserl's Mathematics to Dufrenne's Aesthetics: Toward a Formalization of Phenomenological Aesthetics"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,10]],"date-time":"2026-01-10T13:49:29Z","timestamp":1768052969000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4108400\/4108399"}},"issued":{"date-parts":[[2026,1,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4108400","published":{"date-parts":[[2026,1,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,11,20]],"date-time":"2024-11-20T05:18:39Z","timestamp":1732079919230,"version":"3.28.0"},"posted":{"date-parts":[[2024,11,19]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This video article presents two pedagogical applications of the artistic research project \"Expanding Horizons\" for ensembles with adult music students of diverse musical backgrounds. The project is centered around practical explorations of applying improvisation to repertoire from 20th-century Western classical music, in combination with qualitative methods such as autoethnography, participant-observation and semi-structured interviews.\n \nThe examples in the video demonstrates how approaches that are developed in the project can be applied to pedagogical situations, based on ensemble workshops with musicians of different musical orientations enrolled in music performance programmes in Sweden, one with university-level students in a bachelor programme and another with students at a folk high school. \n\nTwo pieces were selected and adapted for these situations: Lili Boulanger\u2019s Cort\u00e9ge (1914) and Maurice Ravel\u2019s String quartet in F, movement II (1903). During the workshops, these pieces were then re-worked in a collaborative manner, with an emphasis on mutual exploration and musical expressivity through improvisation. The main pedagogical considerations were: selecting the appropriate repertoire, adapting materials for diverse learners, and fostering agency among performers. Although the improvisational approaches presented are rooted in jazz performance practice, the examples demonstrate how improvisational frameworks can be adapted for music students across musical genres, showcasing the potential for creativity, collaboration and interdisciplinary learning in music education.<\/jats:p>","DOI":"10.22501\/rc.3012775","type":"posted-content","created":{"date-parts":[[2024,11,19]],"date-time":"2024-11-19T07:49:13Z","timestamp":1732002553000},"source":"Crossref","is-referenced-by-count":0,"title":["Expanding horizons - ensemble improvisation on 20th-century classical music (video article)"],"prefix":"10.22501","author":[{"family":"Peter Knudsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,19]],"date-time":"2024-11-19T07:49:13Z","timestamp":1732002553000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3012775\/3012747"}},"issued":{"date-parts":[[2024,11,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3012775","published":{"date-parts":[[2024,11,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:13Z","timestamp":1733202793129,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,1,13]]},"abstract":"This article draws on ethnographic fieldwork conducted in London (2013-14) to address the social and political effects of installation and place-based sound-works. I begin by reviewing a number of theoretical approaches to the city, using my own and others\u2019 ethnographic accounts of London to problematize some of the affirmative conceptualizations of the city being propagated by non-representational theories and cultural geographers. In so doing, I provide the theoretical and contextual substratum for my ensuing discussion of the sound-works, and offer an initial view on why physical urban public space remains crucial to progressive politics. I then examine the sonic re-arrangement of public space in three site-specific sound installations. Through ethnographic analysis of the social dynamics summoned into being by each sound-work, and the \u201cmultiple mediations\u201d that animated such dynamics (Born 2005), I offer interpretations as to whether, and if so how, the sound installations might be enlisted as part of a process oriented towards mobilizing democratic designs.<\/jats:p>","DOI":"10.22501\/jss.234018","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:06Z","timestamp":1733149626000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound Art \/ Street Life: Tracing the social and political effects of sound installations in London"],"prefix":"10.22501","author":[{"family":"Christabel Stirling","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:06Z","timestamp":1733149626000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/234018\/234019"}},"issued":{"date-parts":[[2016,1,13]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/jss.234018","published":{"date-parts":[[2016,1,13]]}},{"indexed":{"date-parts":[[2022,3,29]],"date-time":"2022-03-29T04:49:47Z","timestamp":1648529387498},"posted":{"date-parts":[[2020,9,29]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.944125","type":"posted-content","created":{"date-parts":[[2020,9,29]],"date-time":"2020-09-29T12:48:49Z","timestamp":1601383729000},"source":"Crossref","is-referenced-by-count":0,"title":["Nancarrow Biotope"],"prefix":"10.22501","author":[{"family":"\u00d8yvind Brandtsegg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2020,9,29]],"date-time":"2020-09-29T12:48:49Z","timestamp":1601383729000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/944125\/944126"}},"issued":{"date-parts":[[2020,9,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.944125","published":{"date-parts":[[2020,9,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:28Z","timestamp":1733202748505,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2023,3,6]]},"abstract":"The writing that follows (interspersed between other articles) is a series of personal reflections on \u201clistening\u201d \u2013 a term which, for me, refers to an embodied attentive state, including but not limited to the ears. I write from my own experiences as a trans non-binary person of colour and reflect specifically on the ways in which listening work relates to anti-racist and anti-colonial work. Within the writing, certain words are hyperlinks. These are offered as moments of dialogue \u2013 moments where you are invited, if you wish, to read other texts that are in relationship with the particular word, phrase, or idea that is linked. At the end of the section titled \u201c4. Portals,\u201d there is a short list of links to artists and authors who are directly mentioned in the text as well as a list of further references in case they are of interest.<\/jats:p>","DOI":"10.22501\/jss.1912673","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:10Z","timestamp":1733149510000},"source":"Crossref","is-referenced-by-count":0,"title":["2. Listening Tables"],"prefix":"10.22501","author":[{"family":"Rajni Shah","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:10Z","timestamp":1733149510000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1912673\/1912672"}},"issued":{"date-parts":[[2023,3,6]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jss.1912673","published":{"date-parts":[[2023,3,6]]}},{"indexed":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T12:40:24Z","timestamp":1684759224137},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2021,10,18]]},"DOI":"10.22501\/nmh-ar.417771","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T11:37:17Z","timestamp":1618313837000},"source":"Crossref","is-referenced-by-count":0,"title":["New instruments for Music Exploration"],"prefix":"10.22501","author":[{"family":"Kjell Tore Innervik","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T12:14:35Z","timestamp":1684757675000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/417771\/417772"}},"issued":{"date-parts":[[2021,10,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.417771","published":{"date-parts":[[2021,10,18]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:22Z","timestamp":1727238622984},"posted":{"date-parts":[[2021,11,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This doctoral project research investigates the relations between visual arts and artificial intelligence. A great weight is given to the concept of autonomy, as some kind of Holy Graal of cybernetics: the creation of entities that can fend off for themselves, like robots, autonomous cars or artificial software agents. As such, the project has the current working title of \u201cPoetics of Autonomy\u201d. But this concept is also dear to the arts. Much has been written and discussed on the potential for autonomy within the art object, and how much modernism and conceptual art has changed it. \n\nMy concern at this exhibition was to understand the tools AI offers for visual arts and issues they might convey. I also address the concept of autonomy from a perspective of the post-human, or the cyborg. What art can be done from an apocalyptic perspective? When no humans are left on the planet, could there be something left that continues to create art? And what kind of serendipity can be created - or at least simulated - with the current state of AI?\n\nThe exhibition took place at the Hietsun Pavilion in Helsinki, from the 1st to the 30th July, 2021<\/jats:p>","DOI":"10.22501\/rc.1408828","type":"posted-content","created":{"date-parts":[[2021,11,4]],"date-time":"2021-11-04T16:19:13Z","timestamp":1636042753000},"source":"Crossref","is-referenced-by-count":0,"title":["Singular"],"prefix":"10.22501","author":[{"family":"Bruno Caldas Vianna","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:24Z","timestamp":1727192724000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1408828\/1408829"}},"issued":{"date-parts":[[2021,11,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1408828","published":{"date-parts":[[2021,11,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202640},"posted":{"date-parts":[[2022,2,10]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The art work is inspired by the concept of the flower clock by Carl Linnaeus, renowned 18th century botanist from Sweden. \nThe installation \u201cWho will pollinate the Flower Clock\u201d that was exhibited in 2021 features a selection of endemic plants arranged in an outdoor installation. The piece is an invitation to decelerate, and tune into plant-time. \nHow do plants know time? How do they attune to rhythms of day and night? How slow do they open and close their petals? How long do they blossom so that insects can visit them?<\/jats:p>","DOI":"10.22501\/rc.1491062","type":"posted-content","created":{"date-parts":[[2022,2,10]],"date-time":"2022-02-10T08:57:17Z","timestamp":1644483437000},"source":"Crossref","is-referenced-by-count":0,"title":["Flower Clock"],"prefix":"10.22501","author":[{"family":"Christina Stadlbauer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:52Z","timestamp":1727192692000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1491062\/1491063"}},"issued":{"date-parts":[[2022,2,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1491062","published":{"date-parts":[[2022,2,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202788},"posted":{"date-parts":[[2024,7,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Doof Beeld deals with interdisciplinary collaboration and how multisensory perception affects the appreciation of art. These themes are explored through several thought experiments and a discussion of the collaborations between John Cage & Merce Cunningham, and Richard D. James & Chris Cunningham.<\/jats:p>","DOI":"10.22501\/rc.2927118","type":"posted-content","created":{"date-parts":[[2024,7,6]],"date-time":"2024-07-06T21:31:27Z","timestamp":1720301487000},"source":"Crossref","is-referenced-by-count":0,"title":["Doof Beeld (Deaf Image)"],"prefix":"10.22501","author":[{"family":"Tijs Ham","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:40:58Z","timestamp":1727192458000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2927118\/2927119"}},"issued":{"date-parts":[[2024,7,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2927118","published":{"date-parts":[[2024,7,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:08Z","timestamp":1727196008544},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2023,6,6]]},"abstract":"Porous Worlds \u2013 the Liminal Spaces of Relief was carried out as an artistic research PhD project in affiliation with The Art Academy, Faculty of Fine Art, Music and Design at the University of Bergen. The project examines the relief, its connections to art, craft, architecture, and ornament, as well as its various dimensions as an artistic medium. \nIt has been the relief\u00b4s in-between status and the lack of contemporary art discourse around it that has informed the questions like: what is at stake working with relief form today? What kind of artistic potential and possibilities does ceramic relief have to offer?<\/jats:p>","DOI":"10.22501\/kmd-ar.564939","type":"journal-article","created":{"date-parts":[[2023,6,6]],"date-time":"2023-06-06T18:25:54Z","timestamp":1686075954000},"source":"Crossref","is-referenced-by-count":0,"title":["Porous Worlds \u2013 the Liminal Spaces of Relief"],"prefix":"10.22501","author":[{"family":"Pauliina P\u00f6ll\u00e4nen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:07:22Z","timestamp":1727194042000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/564939\/564940"}},"issued":{"date-parts":[[2023,6,6]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.564939","published":{"date-parts":[[2023,6,6]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:24Z","timestamp":1727238684743},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2015,3,13]]},"abstract":"This exposition consists of a 22-minute video piece, Aamu (Morning, 2013), and an essay titled \"Videoteos laatukuvana\" (\"A videowork as a genre picture\"). The video shows a family at breakfast. The essay views the piece as a contemporary genre picture \u2014 an interior painting depicting everyday life. The whole process reflects the many different ways in which art history can serve as material for contemporary art. In the text the words, too, take on a special, tangible, material form.<\/jats:p>","DOI":"10.22501\/ruu.62917","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:34Z","timestamp":1503649474000},"source":"Crossref","is-referenced-by-count":0,"title":["Videoteos laatukuvana\/ A videowork as a genre picture"],"prefix":"10.22501","author":[{"family":"Elina Saloranta","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:32Z","timestamp":1727193872000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/62917\/62918"}},"issued":{"date-parts":[[2015,3,13]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/ruu.62917","published":{"date-parts":[[2015,3,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:25Z","timestamp":1727238685388},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"PhD project: Ancestral Junctures: on the expansion of ancestral mythologies, Supervisor: Hans Schabus\n\nEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>","DOI":"10.22501\/envelo.2105152","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T22:18:21Z","timestamp":1714083501000},"source":"Crossref","is-referenced-by-count":0,"title":["Queer Ancestral Mythologies"],"prefix":"10.22501","author":[{"family":"Cor\u00e7 George Demir","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:32Z","timestamp":1727193932000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2105152\/2105142"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2105152","published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:31Z","timestamp":1727238631291},"posted":{"date-parts":[[2023,7,19]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The piano is an instrument filled with endless possibilities, and an absurd amount of marvellous repertoire, but also has its downsides, namely its extremely complex mechanism: fingers activate a key, that moves a hammer, that hits a string. It\u2019s a lot of steps from the moment you imagine a note and the moment you hear it, and the resulting sound isn\u2019t always what we hope for. This instrument can be limited for the things that are asked from pianists, such as playing singing and legato lines. However, there are ways of getting over this limitation, and one of them is the use of Imagery, I.e., having a strong imagination of something else in order to do things that, in many occasions on a piano, are technically impossible. \nIn this artistic research I approach the concept of Musical Imagery and present an arrangement I made of Debussy\u2019s Et la lune descend sur le temple qui fut (from the second book of Images) for piano and percussion quartet, exploring the imagery elements I use in my practice and explaining how I turned them into something concrete, through the use of new layers added by the chosen instruments.<\/jats:p>","DOI":"10.22501\/koncon.1950989","type":"posted-content","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:38Z","timestamp":1725921398000},"source":"Crossref","is-referenced-by-count":0,"title":["APPROACHING IMAGES: A Journey from Imagery to the Concrete"],"prefix":"10.22501","author":[{"family":"Rui Braga Sim\u00f5es","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:11Z","timestamp":1727193311000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1950989\/1973924"}},"issued":{"date-parts":[[2023,7,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/koncon.1950989","published":{"date-parts":[[2023,7,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:39Z","timestamp":1727238639729},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"Name: Eva Euwe \n\nMain Subject: Violone\n\nResearch Supervisor: Johannes Boer \n\nTitle of Research: Hearing Double \n\nResearch Question: Was the double bass used in the VI Concerti Armonici by Unico Wilhelm Van Wassenaer, and if so, how was it used? \n\nSummary of Results: \nAs far as we know, the VI Concerti Armonici by Unico Wilhelm van Wassenaer were written for a chamber music setting with one instrument per part. We do not know which basso continuo instrumentation was intended or preferred by the composer, but it could have been possible that a double bass was to be used. At that time in the Netherlands, double basses and bassists were around and it is not unlikely that they also played in relatively small settings such as chamber music. If the double bass played the basso continuo line in this piece, there are many reasons that it was used in a different way than the more usual 'concerto grosso' style of playing the continuo line. It is also likely that instead of a double bass, a smaller bass instrument in the 8 foot register was used to double the continuo line with. This would be an instrument that is perhaps bigger than most baroque cellos and close to a basse de violon or a G-violone.\u2028To illustrate these possibilities, I have recorded several versions of the same Concerto with different basso continuo instrumentations. \n\nBiography: \nEva Euwe (Amsterdam, 1988) studies historical double bass and violone with Margaret Urquhart at the Royal Conservatoire of The Hague. She received her Bachelor\u2019s diploma from the Utrecht Conservatory where she studied modern double bass with Quirijn van Regteren Altena. She received masterclasses from world-class bassists such as Joel Quarrington and Edicson Ruiz. \u2028Alongside her studies, Eva works as a freelance bassist with several ensembles such as De Nieuwe Philharmonie Utrecht, BarokOpera Amsterdam and M\u00fasica Temprana. She also performs with the Orchestra of the Age of Enlightenment as a participant of the OAE Experience 2018.<\/jats:p>","DOI":"10.22501\/koncon.308467","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:44:02Z","timestamp":1725921842000},"source":"Crossref","is-referenced-by-count":0,"title":["Hearing Double: how to use the double bass in the VI Concerti Armonici by Unico Wilhelm van Wassenaer."],"prefix":"10.22501","author":[{"family":"Eva Euwe","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:27Z","timestamp":1727193447000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/308467\/404690"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.308467","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:40Z","timestamp":1727238640085},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"How does photography materially intra-act with other material phenomena and how do these interruptions, entanglements or comings-together reveal new qualities of photographic materiality itself? In this exposition, we use the concept of intra-action to think through and problematize photographic practices by looking at two cases: \u2018photo-embroideries\u2019 and \u2018landscape photography\u2019. Through these perspectives we propose a new materialist approach to thinking about photography, one that considers and appreciates photographic materiality.<\/jats:p>","DOI":"10.22501\/ruu.371917","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T15:49:54Z","timestamp":1538236194000},"source":"Crossref","is-referenced-by-count":0,"title":["Surface Tension: Material Intra-Actions within Photography"],"prefix":"10.22501","author":[{"family":"Jane Vuorinen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Rebecca Najdowski","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:03:01Z","timestamp":1727193781000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/371917\/371918"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.371917","published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:43Z","timestamp":1727238643513},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,8,29]]},"abstract":"Toteutin \"The Laundry Case\" performanssin Taideyliopiston Teatterikorkeakoulussa pidetyss\u00e4 SAR -konferenssissa huhtikuussa 2017. Performanssissani pohdin ihmisen ja materian mahdollisuutta tasa-arvoisuuteen esityksess\u00e4 uusmaterialistisessa viitekehyksess\u00e4. T\u00e4ss\u00e4 artikkelissa avaan esityksen prosessia ja siihen liittyvi\u00e4 kysymyksi\u00e4.<\/jats:p>","DOI":"10.22501\/ruu.365813","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T15:49:00Z","timestamp":1538236140000},"source":"Crossref","is-referenced-by-count":0,"title":["Pyykki\u00e4 - N\u00e4k\u00f6kulmia uusmaterialismiin ja performanssiin"],"prefix":"10.22501","author":[{"family":"Pilvi Porkola","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:35Z","timestamp":1727193755000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/365813\/382106"}},"issued":{"date-parts":[[2018,8,29]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/ruu.365813","published":{"date-parts":[[2018,8,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:46Z","timestamp":1727238646359},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2018,1,19]]},"abstract":"The project grew out of a need to improve my ability to tackle challenges I had faced playing contemporary piano concerti. The embodying of new aesthetics is a great challenge in premieres of new works. While the soloist has great potential for expressing personal artistic ideas within a large-scale concert-hall environment, the classical pianist education just does not cover all challenges of performing brand new concerti. The new music suffers. The general lack of contemporary music in educational repertoires has consequences for how the field of classical music develops, what kind of music we value, how we work and what kind of music we play and listen to in a musical society. \n\nI wanted to explore the potential of my role and investigate how I could behave and play to help to improve the sounding result of new piano concerti. I created this project with the overarching research question: Which abilities do I need to develop further, and to enable a progressive soloist role when faced with challenges in entirely new music, and what are the extended effects of such an expanded role awareness? \n\nAs the project moved forward, this progressive role awareness, I discovered, was useful to me by giving me greater flexibility and confidence about the massive collective apparatus surrounding the new piano concerti. \n\nThe project is based around five new piano concerti I have premiered at national and international venues: Diamond Dust by D. Fujikura, Konsertstykke i tre deler by M. Hegdal, at the tips of my fingers \/ on the tip of my tongue by B.L. Thorsen, Wowen Fingerprints by T.B. Ulvo and Theory of the Subject by T. Reinholdtsen. Through the evolution of these works, I examine the role of the soloist in all the processes of musical creation, from initialization to realisation in performance. \n\nThe research material provides insights into how new music is dealt with in the standard classical music world. I provide rare awareness of the role of the soloist and suggest several improvements of how we lay the foundations for premiering new music. A central outcome of my project is a \u2018toolbox\u2019 of proposed techniques and approaches for pianists encountering new works. The toolbox, I argue, is also valuable when applied to older music and to how we approach any musical situation on a general level.<\/jats:p>","DOI":"10.22501\/nmh-ar.31172","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T11:24:14Z","timestamp":1618313054000},"source":"Crossref","is-referenced-by-count":0,"title":["The soloist in contemporary piano concerti"],"prefix":"10.22501","author":[{"family":"Ellen Kristine Ugelvik","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:37Z","timestamp":1727194117000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/31172\/306688"}},"issued":{"date-parts":[[2018,1,19]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.31172","published":{"date-parts":[[2018,1,19]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:27Z","timestamp":1727238747934},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2020,12,28]]},"abstract":"I contextualise my work in cello multiphonics in the framework of practice-based research and key modern developments, such as music-as-performance and contemporary technique. I describe the processes and outputs involved in my research in terms of performance practice and research practice, and provide videos to demonstrate the practical use of a recently released app for cello harmonics and multiphonics.<\/jats:p>","DOI":"10.22501\/nmh-ar.1057169","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T12:14:34Z","timestamp":1684757674000},"source":"Crossref","is-referenced-by-count":0,"title":["Multiphonics for Stringed Instruments: Performance Practice and Research Practice"],"prefix":"10.22501","author":[{"family":"Ellen Fallowfield","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:44Z","timestamp":1727194124000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1057169\/1057170"}},"issued":{"date-parts":[[2020,12,28]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1057169","published":{"date-parts":[[2020,12,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:29Z","timestamp":1727238749518},"posted":{"date-parts":[[2023,5,31]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Fragments of an investigation carried out at the end of the 21st century get intermixed with the invisibility of the object of study \u2014 indoor air.\nFrom a speculative practice between the scientific process, the artistic process and the affective, political, social and cultural process that we create with the things of the world, the appearance of a new body is proposed. It is inside a fictionalised laboratory that we get to see this collective, symbiotic and ancestral organism; a multispecies entity that transcends the borders between terrestrial bodies (mineral, human, vegetal, animal, technological) and time and space.\nThe exhibition and work being presented here is the result of the artist's residency with the LEPABE laboratory team of Environmental Sciences and Technologies (FEUP), which investigates and measures indoor air quality, studying its impact on human health.\n\nThis work is a result of project 2SMART, engineered Smart materials for Smart citizens, with reference NORTE-01-0145-FEDER-000054, supported by Norte Portugal Regional Operational Programme (NORTE 2020), under the PORTUGAL 2020 Partnership Agreement, through the European Regional Development Fund (ERDF).<\/jats:p>","DOI":"10.22501\/i2ads.2051748","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:20Z","timestamp":1727194160000},"source":"Crossref","is-referenced-by-count":0,"title":["HMV_II"],"prefix":"10.22501","author":[{"family":"Catarina Braga","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:20Z","timestamp":1727194160000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2051748\/2051749"}},"issued":{"date-parts":[[2023,5,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.2051748","published":{"date-parts":[[2023,5,31]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:56Z","timestamp":1727238716739},"posted":{"date-parts":[[2024,1,17]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Este ensaio \u00e9 um resultado dos exerc\u00edcios feitos ao longo da disciplina \u201cPensamento em Arte Atual\u201d, parte do curso de doutoramento em Artes Pl\u00e1sticas da Faculdade de Belas Artes da Universidade de Porto, 2023\/2024, sob orienta\u00e7\u00e3o da professora Filipa Cruz. Trata-se de uma apropria\u00e7\u00e3o da obra \u201cNaufr\u00e1gio com Espectador\u201d, de Hans Blumenberg, pelo estabelecimento de paralelos entre a met\u00e1fora do naufr\u00e1gio e as experi\u00eancias das pr\u00e1ticas art\u00edsticas e daquelas relacionadas \u00e0 investiga\u00e7\u00e3o acad\u00eamica em artes. Na primeira parte do ensaio, \u201cO grande marujo que sempre naufraga\u201d, parto do mote \u201co que resta ao n\u00e1ufrago\u201d, t\u00edtulo do segundo cap\u00edtulo do livro de Blumenberg, para discutir, de maneira geral, as aventuras e desventuras do artista\/investigador diante dos riscos de fracasso, numa alegoria \u00e0s odisseias mar\u00edtimas da literatura universal. J\u00e1 o segundo trecho do ensaio, \u201cagora submerso em ondas eletromagn\u00e9ticas\u201d, \u00e9 mais aplicado \u00e0 pesquisa que eu, particularmente, venho desenvolvendo no doutoramento: o uso de tecnologias ditas de \u201cintelig\u00eancia artificial\u201d para a cria\u00e7\u00e3o de obras de arte generativas pela intera\u00e7\u00e3o cibern\u00e9tica, entre humano e m\u00e1quina. Neste cap\u00edtulo fa\u00e7o uso de refer\u00eancias da cultura pop, nomeadamente obras de fic\u00e7\u00e3o cient\u00edfica que introduzem o elemento da IA nas narrativas her\u00f3icas contempor\u00e2neas. Para trazer materialidade ao que \u00e9 tratado no texto, apresento duas experi\u00eancias pr\u00e1ticas de cria\u00e7\u00e3o de c\u00f3digos de programa\u00e7\u00e3o destinados \u00e0 gera\u00e7\u00e3o de obras de arte generativa pelo m\u00e9todo que proponho em minha investiga\u00e7\u00e3o. Como procedimento de transpar\u00eancia do processo de cria\u00e7\u00e3o, apresento links externos para que se tenha acesso \u00e0 vers\u00e3o das obras em sua vers\u00e3o em html, \u00e0s trocas de mensagem com a ferramenta de intelig\u00eancia artificial utilizada, \u00e0 integridade do c\u00f3digo de programa\u00e7\u00e3o da vers\u00e3o final do projeto e ao hist\u00f3rico de vers\u00f5es que o c\u00f3digo teve ao longo de todo seu desenvolvimento. As obras apresentadas t\u00eam como tema o \u201cnaufr\u00e1gio mar\u00edtimo\u201d e o \u201cnaufr\u00e1gio espacial\u201d, relacionadas \u00e0s duas partes em que se divide o texto. Ao final, ainda apresento uma montagem que re\u00fane trechos das duas obras em uma \u00fanica materialidade, a vis\u00e3o de um horizonte do c\u00e9u e do mar.\n\n\nThis essay is a result of exercises undertaken during the course \"Thinking in Contemporary Art\", part of the doctoral program in Fine Arts at the Faculty of Fine Arts, University of Porto, 2023\/2024, under the guidance of Professor Filipa Cruz. It involves an appropriation of Hans Blumenberg's work \"Shipwreck with Spectator\" by establishing parallels between the metaphor of shipwreck and the experiences of artistic practices and those related to academic research in the arts. In the first part of the essay, \"the great sailor who always sinks,\" I start with the theme \"what the shipwrecked person is left with\", the title of the second chapter of Blumenberg's book, to discuss, in a general sense, the adventures and misadventures of the artist\/researcher facing the risks of failure, an allegory to the maritime odysseys of universal literature. The second part of the essay, \"now submerged in electromagnetic waves\", is more applied to the research I have been developing in the doctoral program: the use of so-called \"artificial intelligence\" technologies for the creation of generative artworks through cybernetic interaction between humans and machines. In this chapter, I make use of references from pop culture, particularly works of science fiction that introduce the element of AI into contemporary heroic narratives. To give materiality to what is discussed in the text, I present two practical experiences of creating programming codes for generating generative artworks by the method proposed in my research. As a transparency procedure in the creation process, I provide external links to access the works in their html version, exchanges with the AI tool used, the integrity of the programming code of the final version of the project, and the version history that the code had throughout its development. The presented works focus on the themes of \"maritime shipwreck\" and \"space shipwreck,\" related to the two parts in which the text is divided. In the end, I also present a montage that brings together excerpts from the two works into a single materiality, the view of a horizon of the sky and the sea.<\/jats:p>","DOI":"10.22501\/rc.2442687","type":"posted-content","created":{"date-parts":[[2024,1,17]],"date-time":"2024-01-17T22:49:01Z","timestamp":1705531741000},"source":"Crossref","is-referenced-by-count":0,"title":["Naufr\u00e1gio Mar\u00edtimo | Naufr\u00e1gio Espacial"],"prefix":"10.22501","author":[{"family":"Tobias Gaede","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:49Z","timestamp":1727192509000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2442687\/2462010"}},"issued":{"date-parts":[[2024,1,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2442687","published":{"date-parts":[[2024,1,17]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:01Z","timestamp":1727238721315},"posted":{"date-parts":[[2022,8,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The following material is a short excerpt from the master\u2019s research exposition: THE IMPORTANCE OF ARUNDO DONAX CANE SELECTION, FOR MANUFACTURERS OF OBOE REEDS (2020) by Christos Tsogias-Razakov. It is mentioned that already from the period of classical antiquity existed methods that helped manufacturers to make playable reeds for the instruments of that time.<\/jats:p>","DOI":"10.22501\/rc.1723052","type":"posted-content","created":{"date-parts":[[2022,8,28]],"date-time":"2022-08-28T19:25:28Z","timestamp":1661714728000},"source":"Crossref","is-referenced-by-count":0,"title":["The primary knowledge about cane, by Theophrastus."],"prefix":"10.22501","author":[{"family":"Christos Tsogias-Razakov","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:09Z","timestamp":1727192649000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1723052\/1723051"}},"issued":{"date-parts":[[2022,8,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1723052","published":{"date-parts":[[2022,8,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:05Z","timestamp":1727238725041},"posted":{"date-parts":[[2019,12,25]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This durational performance is part of Narratives of Imperfection and was taking place at the exhibition space SOLU, in Helsinki in November 2019.<\/jats:p>","DOI":"10.22501\/rc.761545","type":"posted-content","created":{"date-parts":[[2019,12,25]],"date-time":"2019-12-25T19:16:01Z","timestamp":1577301361000},"source":"Crossref","is-referenced-by-count":0,"title":["Kin Tsugi Gestures"],"prefix":"10.22501","author":[{"family":"Christina Stadlbauer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:34Z","timestamp":1727192914000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/761545\/761546"}},"issued":{"date-parts":[[2019,12,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.761545","published":{"date-parts":[[2019,12,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:05Z","timestamp":1727238725352},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this exposition, I present the curatorial methods I devised to create a hyperlocal compositional methodology used in the research project, for-Wards. for-Wards is a two-year citywide music programme involving a large-scale artistic partnership to co-create new music within and about forty Birmingham wards. \n\nThe curated hyperlocal methodological framework I constructed was used to support the creation of hyperlocal musical works. I use the term \u2018hyperlocal\u2019 which is borrowed from the realm of citizen journalism. It infers community-produced news that is extremely localised. Hyperlocal is concerned with events and stories within a specific geographic community (Radcliffe 2012).<\/jats:p>","DOI":"10.22501\/rc.892460","type":"posted-content","created":{"date-parts":[[2021,2,19]],"date-time":"2021-02-19T15:06:54Z","timestamp":1613747214000},"source":"Crossref","is-referenced-by-count":0,"title":["for-Wards: Curating a Hyperlocal Compositional Methodological Framework"],"prefix":"10.22501","author":[{"family":"Bobbie-Jane Gardner","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:33Z","timestamp":1727192853000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/892460\/892712"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.892460","published":{"date-parts":[[2020,12,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:05Z","timestamp":1727238725507},"posted":{"date-parts":[[2019,12,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Witnessing a swarm of honeybees flying out of their hive is rare \u2013 especially in the urban environments. Because beekeepers manage their bees and take measures to prevent swarming from happening, the emergence of a swarm is regarded as bad beekeeping management. However, this event is a honeybee colony's birth and is an impressive show of nature's excellency.<\/jats:p>","DOI":"10.22501\/rc.497858","type":"posted-content","created":{"date-parts":[[2019,12,28]],"date-time":"2019-12-28T10:27:06Z","timestamp":1577528826000},"source":"Crossref","is-referenced-by-count":0,"title":["Swarming Event"],"prefix":"10.22501","author":[{"family":"Christina Stadlbauer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:29Z","timestamp":1727192909000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/497858\/497859"}},"issued":{"date-parts":[[2019,12,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.497858","published":{"date-parts":[[2019,12,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:06Z","timestamp":1727238726293},"posted":{"date-parts":[[2020,12,7]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Creative Centre for Fluid Territories (CCFT), is a peripatetic international research group that contributes to discussions about interdisciplinary practices and how they articulate critical insights about placemaking, belonging, and occupation. \n\nBuilding on last year\u2019s contribution to buffer fringe 2019 - \u2018The Urban Glenti\u2019 - CCFT proposes to create a unique dialogical and negotiated creative exchange to take place on-line within a dedicated exposition: Images, sounds, texts, interviews, moving image are going to be used to contest the idea of fixed documentation in order to acknowledge how our relationship to places are not static and where conflict\/tension\/uncertainty also defines the creative process itself.\n\nCCFT\u2019s work methodology builds on established mutual respect; track record and insight, rooted in a continued collaborative relationship that has emerged through trust and dialogue. Our focus is on practice-based research methods exploiting the creative intersection between image and text, presented as performance, publication, installation, architectural work, design intervention, music works, and spatial practice. In the intersection of these formulations, we seek to explore the expanded concept of \u201cthe atlas\u201d as a dissemination strategy. ATLAS \u2013 the order of memory - simultaneously linear and cyclic, ordered and labyrinthine, open to infinite interpretation and analysis \u2014 a form of mnemonic iteration \u2013 physical and virtual.<\/jats:p>","DOI":"10.22501\/rc.976547","type":"posted-content","created":{"date-parts":[[2020,12,7]],"date-time":"2020-12-07T20:34:49Z","timestamp":1607373289000},"source":"Crossref","is-referenced-by-count":0,"title":["CCFT Buffer Fringe 2020"],"prefix":"10.22501","author":[{"family":"Johan Sandborg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Duncan Higgins","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Linda H. Lien","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"andy d lock","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ana Souto Galvan","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Susan Brind","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Shauna McMullan","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Yiorgos Hadjichristou","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Jim Harold","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:52Z","timestamp":1727192872000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/976547\/976548"}},"issued":{"date-parts":[[2020,12,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.976547","published":{"date-parts":[[2020,12,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:08Z","timestamp":1727238728501},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,12,30]]},"abstract":"This exposition recognizes the \"Vox Spatium\" through the comparative study of acoustic spaces and their reaction to an impulse response (IR). The artistic research arises from two creative instances: a residency at the Experimental Base for Sound Art TSONAMI Valpara\u00edso, Chile (2019) and the field studies of the project Resonant Spaces (Balbont\u00edn-Klenner, 2019-2020) in Belgium, Scotland and Spain. Both experiences unfolded as expeditions towards the sound exploration of the acoustics of urban and architectural space. In the exploratory process, the project begins to change its course and redirects the north towards new spatial horizons; the spaces visited are increasingly uninhabitable generating a direct relationship with the intensity of their acoustic interest. In the tracking process towards the \"Vox Spatium\" a narrative begins to be forged that transcends from human spaces to non-human spaces, raising issues around urban entropy and the current geological era of the Anthropocene. The sound exploration becomes an agency and sound becomes the evidence that reveals the rhythm of the anthropic impact on the planet.<\/jats:p>","DOI":"10.22501\/jar.1131091","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T11:26:59Z","timestamp":1640863619000},"source":"Crossref","is-referenced-by-count":0,"title":["Vox Spatium"],"prefix":"10.22501","author":[{"family":"Sof\u00eda Balbont\u00edn","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:55Z","timestamp":1727193115000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1131091\/1131092"}},"issued":{"date-parts":[[2021,12,30]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jar.1131091","published":{"date-parts":[[2021,12,30]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:10Z","timestamp":1727238730951},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,12,10]]},"abstract":"Stop and Go is a research project investigating physical and social transformation at nodes and hubs of transnational mobility and migration alongside major pan-European road corridors in a geographic triangle between Vienna, Tallinn, and the Bulgarian-Turkish border. It draws on intensive embedded field trips with a mobile lab (a Ford Transit van) using (deep) mapping, workshops, installations, and exhibitions both on tour and in a stationary work space in a Vienna logistics hub (a former railway station). Intermediate and final results have been represented in diagrammatic drawings, maps, and (animated) graphic novels.<\/jats:p>","DOI":"10.22501\/jar.330596","type":"journal-article","created":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T22:26:57Z","timestamp":1512944817000},"source":"Crossref","is-referenced-by-count":0,"title":["Stop and go: nodes of transformation and transition"],"prefix":"10.22501","author":[{"family":"Michael Zinganel","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Michael Hieslmair","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:58Z","timestamp":1727193178000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/330596\/330597"}},"issued":{"date-parts":[[2017,12,10]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jar.330596","published":{"date-parts":[[2017,12,10]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:15Z","timestamp":1727238735549},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,11,9]]},"abstract":"After the second world war, the musical performance style remains changing from intensely expressive into clean and litteral. The exaggeration of expression through tempo, rhythm, portamento, ornamentation were suddenly gone and became utterly unrealistic and old-fashion. The cleanliness of the performance style brought singers to put more focus only to the score and text. Realizing how much the gap between two different styles, I have only partially understood the half picture of the style. My thesis will focus on the re-enactment study of Lotte Lehmann's recording in 1930s of An die Musik by Schubert and Ich grolle nicht by Schumann.<\/jats:p>","DOI":"10.22501\/koncon.969662","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:39:25Z","timestamp":1725921565000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring Expressive Lied Performance: Re-enacting Lotte Lehmann\u2019s Pre-World War II Lied Performances"],"prefix":"10.22501","author":[{"family":"Marlina Deasy Hartanto","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:20Z","timestamp":1727193380000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/969662\/1183012"}},"issued":{"date-parts":[[2021,11,9]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.969662","published":{"date-parts":[[2021,11,9]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:09Z","timestamp":1727238729685},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,28]]},"abstract":"\u201cWalking with Soldiers\u201d examines an auto-ethnographic moment of marching across the city of Helsinki with first-year cadets of the Finnish National Defence University. In a reparative reading, the walk dismantles boundaries of bodies, critiques, and affects. Through a walking methodology and autoethnography, the present exposition demonstrates how the author began orienteering within military structures through an affective investment. The exposition is a researcher\u2019s journey across subjectivities and difference in a female civilian body. Epistemologically, it brings theory closer to the skin; and empirically, it offers insight into the affective world of belonging. \u201cWalking with Soldiers\u201d is multimodal and polyphonic: it consists of a text for reading, three audio tracks for listening and co-walking, as well as illustrations created by Julia J\u00e4rvel\u00e4 based on photographs taken by the author. The provided materials can be selectively attended to. The artistic technique used in the exposition is seduction: the reader\/listener is invited into an experience. The exposition is a conversation between critical military studies and artistic research: it gives artistic attention to a military march and places importance on the acoustic and vibrating qualities of academic research. The writing itself subverts the practice of authoritative scholarly writing by presenting descriptive work as theoretical work, and by using citations as companions from the outside.<\/jats:p>","DOI":"10.22501\/jar.700528","type":"journal-article","created":{"date-parts":[[2020,10,27]],"date-time":"2020-10-27T20:57:00Z","timestamp":1603832220000},"source":"Crossref","is-referenced-by-count":2,"title":["Walking with Soldiers: How I learned to stop worrying and love cadets"],"prefix":"10.22501","author":[{"family":"Susanna Hast","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:10Z","timestamp":1727193130000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/700528\/882392"}},"issued":{"date-parts":[[2020,10,28]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jar.700528","published":{"date-parts":[[2020,10,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738061},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,6,3]]},"abstract":"Student Number\n3167720\n\nSupervisor(s)\nPatrick van Deurzen\n\nTitle\nThe Art of Arpeggiation\n\nResearch Question\nHow many different ways of arpeggiation is it possible to think of and how is musical meaning created through them?\n\nSummary\nThis research is about discovering the expressive possibilities of arpeggiation \u2013 may it be indicated by an arpeggio sign or added arbitrarily by a performer. For two reasons this question seems relevant: 1. In the past century, the idea that musical performance should be an exact reproduction of the score has become increasingly predominant and in consequence the idea of exact synchronity has evolved. Seeking for a more creative and less reproducing way to perform, breaking up this rigid synchronity provides us with an exciting \"playground\" yet to be explored. 2. Particularly on the classical guitar arpeggiation can frequently be heard \u2013 often for more technical than musical reasons. Especially on this instrument, a more reflected use is desirable. It was barely looked at the rules on what happens \"inside\" an arpeggiation. A reason for that might be, that everything inside an arpeggiation usually occurs very rapidly which makes it a lot harder to be analyzed. Besides that, often in arpeggiation the performer relies on \"automatic\" processes that are difficult to be modified consciously. I propose the idea, that arpeggiation consists of multiple layers of meaning that can be put together in any possible combination. The layers of arpeggiation span with increasing subtlety from habitual arpeggiation to a meticulously planned effect. In the presentation I will demonstrate this concept by showing different ways and meanings of arpeggiation in recordings and on my instrument.\n\nShort Bio\nNiels Pfeffer finished his harpsichord studies at the Stuttgart University of Music under J\u00f6rg Halubek and his guitar studies with Johannes Monno in 2017. He is studying in master with Robert Hill in Freiburg (harpsichord) and with Zoran Duki\u0107 in The Hague (guitar). With the guitar he won numerous prizes at renowned competitions. He is passionate about playing continuo on theorbo and harpsichord. With both instruments he took part in opera and orchestra performances. As member of different early music ensembles he has been regularly successful in competitions. At the University of Music Stuttgart he is teaching continuo and theorbo.<\/jats:p>","DOI":"10.22501\/koncon.411011","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:43:15Z","timestamp":1725921795000},"source":"Crossref","is-referenced-by-count":0,"title":["The Art of Arpeggiation"],"prefix":"10.22501","author":[{"family":"Niels Pfeffer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:17Z","timestamp":1727193437000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/411011\/411012"}},"issued":{"date-parts":[[2019,6,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.411011","published":{"date-parts":[[2019,6,3]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:01Z","timestamp":1727238661550},"posted":{"date-parts":[[2024,4,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"SPECTRUM \nUtilizzo immagini che richiamano strutture ossee e fossili come simboli di ci\u00f2 che \u00e8 stato, frammenti di un'esistenza passata che raccontano storie silenziose. Le impronte e le tracce lasciate sulla terra evocano il movimento e la vita di un tempo, mentre la stratificazione del terreno rappresenta il sedimentarsi del tempo stesso.\n\nCome un archeologo che scava tra le rovine, dissotterro le memorie sepolte, riportando alla luce frammenti di storie dimenticate. I resti che emergono assumono nuove forme e significati, creando un dialogo tra passato e presente.\n\nNelle mie opere, la materia diventa veicolo di memoria, assumendo una carica emotiva e simbolica. La resina, le plastiche e il colore si trasformano in reperti archeologici di un'epoca immaginaria, invitando lo spettatore a riflettere sulla caducit\u00e0 della vita e sulla persistenza del ricordo.<\/jats:p>","DOI":"10.22501\/rc.2665211","type":"posted-content","created":{"date-parts":[[2024,4,3]],"date-time":"2024-04-03T21:31:36Z","timestamp":1712179896000},"source":"Crossref","is-referenced-by-count":0,"title":["SPECTRUM-LO SPETTRO"],"prefix":"10.22501","author":[{"family":"Francesco Straface","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:26Z","timestamp":1727192486000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2665211\/2665212"}},"issued":{"date-parts":[[2024,4,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2665211","published":{"date-parts":[[2024,4,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667826},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nOn the changing spatialities that occur when the home collapsed into the house.<\/jats:p>","DOI":"10.22501\/rc.1271729","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T11:50:52Z","timestamp":1622634652000},"source":"Crossref","is-referenced-by-count":0,"title":["Changing spatialities of the domestic\/home\/house"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:41Z","timestamp":1727192801000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1271729\/1271730"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1271729","published":{"date-parts":[[2021,6,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667614},"posted":{"date-parts":[[2021,4,16]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition explores the backround noise as aesthetic periphery. My attempt is to define my subjective experience about what I consider as peripheral frequencies and how do they affect the formation of aesthetic experiences.<\/jats:p>","DOI":"10.22501\/rc.1166178","type":"posted-content","created":{"date-parts":[[2021,4,16]],"date-time":"2021-04-16T06:47:12Z","timestamp":1618555632000},"source":"Crossref","is-referenced-by-count":0,"title":["Peripheral frequencies"],"prefix":"10.22501","author":[{"family":"Mika Kiviniemi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:50Z","timestamp":1727192810000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1166178\/1166179"}},"issued":{"date-parts":[[2021,4,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1166178","published":{"date-parts":[[2021,4,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:21Z","timestamp":1727238681198},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"This paper regards the notion of \u2018something\u2019 in the context of performance and performative speech-acts. \u2018Something\u2019 is a crisis, an element of systemic cycles: it distorts both as a signal and terminal crisis for any system or standards of thought or practice. My aim is to consider this crisis in loose connection with performativity, economy, and philosophy \u2013 or through a broad articulation of \u2018performance with something\u2019. We can question why there is a notion of experiencing \u2018something\u2019, which does not signify anything but only \u2018something.\u2019 Is \u2018something\u2019 something else when the quotation marks are left out, when \u2018something\u2019 or \u201csomething\u201d becomes something? Is something then the act of becoming, eluding us as it moves, escaping its inverted commas? Many concepts can be used to approach this issue, such as Gilles Deleuze\u2019s construction of the terms \u2018aliquid\u2019 and \u2018sense\u2019. We can regard how decisionality, the term that Fran\u00e7ois Laruelle has proposed as a decisive element for all philosophical inquiries, might cut off something and slice it into pieces. Or we can consider whether something is simply gnosis, an expression of the mystical and mystifying experience of the Gnostics \u2013 an approach that recognizes our epoch\u2019s search for a correlation with the paranormal. Still, is something the thing-in-itself, which we may not ever possess except as a correlation with consciousness? We might even ask if something is the foreclosed Real, something that cannot be captured with a noun, something that cannot, in the nature of things \u2013 the nature of somethings \u2013 be captured at all.<\/jats:p>","DOI":"10.22501\/ruu.508626","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T11:34:51Z","timestamp":1558611291000},"source":"Crossref","is-referenced-by-count":0,"title":["The experience of \u2018something\u2019 in performance"],"prefix":"10.22501","author":[{"family":"Tero Nauha","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:31Z","timestamp":1727193751000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/508626\/508627"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.508626","published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:19Z","timestamp":1727238679835},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Vera Marijt\nMain Subject: Jazz Piano\nResearch Coach: Jarmo Hoogendijk\nTitle of Research: Barry Harris: Exploring the Diminished\nResearch Question:\nHow can the transcriptions I made of Barry Harris' workshops and recordings be incorporated in my playing, in order to develop myself in a bebop style?\nResearch Process:\nI transcribed two DVD boxes containing 8 discs of over 8 hours of workshops by pianist Barry Harris that were recorded and published by Howard Rees. Furthermore, I transcribed about 54 video's of Barry Harris that were published on the website, www.franselsen.com, and several solo's of him.\nThis resulted in about 35 pages of transcribed material, that I sorted and practiced during my Master studies.\nSummary of Results:\nBarry Harris talks in his workshops a lot about one important chord; the diminished. He explained how chords are related to the diminished and how we can use the diminished to connect chords and create 'movement'.\nTwo important scales are the major and minor 6 diminished scales. Exercises I got out of the transcriptions and experimenting with this, opened a new world of sounds, voicings, harmonic knowledge and ideas for improvisational lines for me.\nI apply the material to existing pieces and wrote a composition in which these techniques are used.\nIn the presentation I will explain about the major and minor 6th diminished scales and how they can be applied to tunes.<\/jats:p>","DOI":"10.22501\/koncon.31695","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:49:52Z","timestamp":1725922192000},"source":"Crossref","is-referenced-by-count":0,"title":["Barry Harris: Exploring the Diminished"],"prefix":"10.22501","author":[{"family":"Vera Marijt","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:50Z","timestamp":1727193530000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/31695\/31696"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.31695","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:18Z","timestamp":1727238678839},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,5,9]]},"abstract":"Name \nPim Witvrouw \nMain Subject \nMusic Theory\nSupervisors\nPaul Scheepers \/ David Kuijken \nTitle of Research \nTowards an integrated method for practicing: internalizing the composer\u2019s language \nResearch Question \nIn which ways can we use the outcome of an analysis to develop a practice method focused on learning the general musical language of a score, instead of just memorizing the right notes?\nSummary of Results \nMusicians who could very well play, improvise and compose wrote down the majority of repertoire, which we encounter as Western classical musicians. In conservatories and music schools often an attitude towards classical music is developed from a narrower point of view: learning and performing a score. There are extra classes in solfeggio, harmony, improvisation, analysis and counterpoint. However, the reality is that, for most students these subjects are not connected to their practice as instrumentalists. As a pianist, I don\u2019t use all the resources I have as a theorist, and there seems to be a separation between these two practices. Might there be a different way to start practicing a classical work? For the purposes of my research I have chosen one piece as a case study: the first movement of Beethoven's piano sonata n. 31 (op. 110, in A flat major). First I analysed the movement and then I looked at what I can do with the data generated from the analysis. I developed some exercises in order to prepare one for studying the actual work. These exercises could bring theoretical knowledge and improvisation skills into the instrumental lessons and give the player a deeper insight into Beethoven\u2019s harmonic language and use of formal structures. Further research is necessary in order to work out these exercises for more repertoire of all levels, styles and even instruments. It is my intention with this research and future work to bring music theory and activities in the practice rooms of musicians closer together. \nBiography \nPim Witvrouw began his professional music studies at the Young Talent Department of the Lemmensinstituut in Leuven (Belgium) where he studied piano with Stefan Celen. He continued to study in the Netherlands at the Utrecht Conservatory, where he studied with Paolo Giacometti. In addition to this he studied musicology at the University of Utrecht. Pim is currently engaged giving piano lessons and music theory classes at the CKV-Almere. Since September 2018 he also teaches music theory at the Conservatory of Zwolle. In recent years he performed a solo program devoted to works of J.S. Bach.<\/jats:p>","DOI":"10.22501\/koncon.529638","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:43:18Z","timestamp":1725921798000},"source":"Crossref","is-referenced-by-count":0,"title":["Towards an integrated method for practicing: internalizing the composer\u2019s language."],"prefix":"10.22501","author":[{"family":"Pim Witvrouw","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:21Z","timestamp":1727193441000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/529638\/529644"}},"issued":{"date-parts":[[2019,5,9]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.529638","published":{"date-parts":[[2019,5,9]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670772},"posted":{"date-parts":[[2019,2,17]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Among the members of the Archaeological Institute of the German Reich, the architectural historian Hans Schleif was notable for the extent of his involvement with the crimes of the National Socialist regime. His achievements in scientific research, for instance as director of excavations at Olympia, are overshadowed by his career in the SS. He was director of the Excavation Department of the \u00bbAhnenerbe\u00ab (ancestral heritage) of the SS. After the German invasion of Poland he was briefly appointed Custodian of German Cultural Assets based in Posnan. In 1943, he joined the SS Head Office for Economic and Administrative Affairs and rose to the position of deputy to C Group (Construction) director, Dr. Hans Kammler, whose permanent representative in the Ja\u0308ger- und Ru\u0308stungsstab task force he became. In this role, Schleif was responsible above all for moving key arms production facilities underground, where fighter planes and the \u00bbreprisal weapons\u00ab V1 and V2 were built \u2013 hence for the largely subterranean concentration and slave labour camps of the Sonderstab Kammler. His grand- son, the actor Matthias Neukirch, created a theatre production about Schleif in collaboration with stage director Julian Klein at the Deutsches Theater Berlin. This text is a result of the research undertaken for the production, and reports on selected stages in Schleif\u2019s biography.<\/jats:p>","DOI":"10.22501\/rc.332337","type":"posted-content","created":{"date-parts":[[2019,2,17]],"date-time":"2019-02-17T22:33:31Z","timestamp":1550442811000},"source":"Crossref","is-referenced-by-count":0,"title":["Hans Schleif"],"prefix":"10.22501","author":[{"family":"Julian Klein","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:15Z","timestamp":1727192955000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/332337\/332338"}},"issued":{"date-parts":[[2019,2,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.332337","published":{"date-parts":[[2019,2,17]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:28Z","timestamp":1727238628261},"posted":{"date-parts":[[2020,11,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Group exhibition for Y3 Crits<\/jats:p>","DOI":"10.22501\/rc.1058270","type":"posted-content","created":{"date-parts":[[2020,11,28]],"date-time":"2020-11-28T12:44:40Z","timestamp":1606567480000},"source":"Crossref","is-referenced-by-count":0,"title":["Crit group 5"],"prefix":"10.22501","author":[{"family":"KM","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:54Z","timestamp":1727192874000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1058270\/1058271"}},"issued":{"date-parts":[[2020,11,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1058270","published":{"date-parts":[[2020,11,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:23Z","timestamp":1727238623103},"posted":{"date-parts":[[2021,11,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The experiment reported here seeks inspiration from the interplay in chess between the limitations set by the rules and the playfulness afforded by the instance of playing the game. I replaced the chess pieces with everyday objects that are somehow personally or historically important and familiar to the player. With this experimental performance, I did not wish to point at anything outside the confines of the game, but rather explore whether a game of chess with random everyday objects as pieces is possible in the first place and if any significant discoveries could be made when playing in such a fashion. I treated the rules of the game simply as a starting place or a template, and while successful playing will require basic understanding of the rules of the game, I anticipated that paying attention to and spending time with the objects themselves would be more important.<\/jats:p>","DOI":"10.22501\/rc.1408138","type":"posted-content","created":{"date-parts":[[2021,11,3]],"date-time":"2021-11-03T14:48:37Z","timestamp":1635950917000},"source":"Crossref","is-referenced-by-count":0,"title":["Musings on Pure Play"],"prefix":"10.22501","author":[{"family":"Marko Mikael Marila","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:22Z","timestamp":1727192722000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1408138\/1408137"}},"issued":{"date-parts":[[2021,11,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1408138","published":{"date-parts":[[2021,11,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:24Z","timestamp":1727238624764},"posted":{"date-parts":[[2015,7,30]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This recent conversation I have had with Ron Athey, one of the most outstanding ground-breaking performance artists of our times, has been made exclusively for LADA (Live Art Development Agency, UK) on early 2015. The agency, on behalf of its director Lois Keidan, is pleased to make it available for Research Catalogue members and readers.\nThe dialogue includes a discussion around the issues and concerns of contemporary Performance Art as well as an in-depth focus on the work of Ron Athey, past and present. With additional notes by Lisa Newman, a photo selection from the archive of the artist and Manuel Vason's, and Athey's \"Devine's Funeral\" monologue, originated from Jean Genet's novel \"Our Lady of the Flowers\".\n\nRon Athey is an iconic figure in contemporary art and performance. In his frequently bloody portrayals of life, death, crisis, and fortitude in the time of AIDS, Athey provides insights and calls into question the limits of artistic practice and research. These limits enable Athey to explore key themes including gender, sexuality, radical sex, queer activism, post-punk and industrial culture, tattooing and body modification, ritual, philosophy, literature, creative-automatic writings, spirituality and religion. The first monograph on his work, \"Pleading in the Blood\", edited by Dominic Johnson, is published by LADA and Intellect Books in their Intellect Live series.<\/jats:p>","DOI":"10.22501\/rc.206617","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:48Z","timestamp":1498067628000},"source":"Crossref","is-referenced-by-count":0,"title":["In Conversation with Ron Athey"],"prefix":"10.22501","author":[{"family":"Andrea Pagnes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:07Z","timestamp":1727193007000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/206617\/206618"}},"issued":{"date-parts":[[2015,7,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.206617","published":{"date-parts":[[2015,7,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:02Z","timestamp":1742358182922,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0045","type":"journal-article","created":{"date-parts":[[2021,5,24]],"date-time":"2021-05-24T09:59:21Z","timestamp":1621850361000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Jennie Klein and Natalie Loveless (eds.), \"Responding to Site: The Performance Art of Marilyn Arsem.\""],"prefix":"10.22501","author":[{"given":"Mareli","family":"Stolp","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,5,24]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:14Z","timestamp":1742292194000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-jennie-klein-and-natalie-loveless-eds-responding-site-performance-art-marilyn-arsem"}},"issued":{"date-parts":[[2021,5,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0045","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2021,5,24]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:03Z","timestamp":1742294403426,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0032","type":"report","created":{"date-parts":[[2020,7,15]],"date-time":"2020-07-15T16:43:55Z","timestamp":1594831435000},"source":"Crossref","is-referenced-by-count":0,"title":["PhD Vitamin at the Estonian Academy of Arts"],"prefix":"10.22501","author":[{"given":"Kirke","family":"Kangro","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Oliver","family":"Laas","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Madis","family":"Luik","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,7,15]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:05Z","timestamp":1742292185000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/phd-vitamin-estonian-academy-arts"}},"issued":{"date-parts":[[2020,7,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0032","published":{"date-parts":[[2020,7,15]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T19:10:44Z","timestamp":1754161844631,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T00:00:00Z","timestamp":1753747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,7,29]]},"abstract":"This master's thesis investigates the creative possibilities of alternate guitar tunings in the context of songwriting. I explore how each tuning affects the compositional structure and emotional expression of my work through employing repeated cycles of experimentation, songwriting, and reflection. Rooted in a practice-led approach, the study has me working as both researcher and practitioner producing original works while examining my creative process. My results suggest that different tunings not only expand the harmonic scene but also ignite musical ideas that might not arise using standard tuning by itself.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/uia.3597004","type":"journal-article","created":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:31:01Z","timestamp":1753788661000},"source":"Crossref","is-referenced-by-count":0,"title":["Alternate Guitar Tunings in Songwriting"],"prefix":"10.22501","author":[{"family":"Torfinn Mckenzie Juva","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:31:02Z","timestamp":1753788662000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3597004\/3597005"}},"issued":{"date-parts":[[2025,7,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.3597004","published":{"date-parts":[[2025,7,29]]}},{"indexed":{"date-parts":[[2025,7,4]],"date-time":"2025-07-04T05:36:14Z","timestamp":1751607374723},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2018,9,28]]},"abstract":"Pains are moving, alluring us to world-making-activities, attuning our bodies with other bodies and therefore putting us in relation to others. Pains cut into our net of habits, and even the slightest pain causes a transformation. Pains are crushing, deeply distressing, showing us our limitations \u2013 but also our capability to go beyond our limits, to outgrow ourselves. \nIn the course of my literary research for this project I generated 10 PAIN CATEGORIES that I derived from poems, philosophical and literary texts on pain, and my own experiences. These poetical\/pictorial categories differ profoundly from pain categories as they are to be found in common pain questionnaires: They refer to the existential dimension of pain and do not differentiate between physical and mental pain in order to overcome the myth of this dichotomy. The next step of my project consisted in going into the field to look at, imagine and feel into pain. I conducted methodical observations in the casualty departments of two Viennese hospitals and developed my own method of \"self-reflective observation in the mode of seeing\/feeling\". The assemblages as part of this exposition present the results of these investigations and reconstruct different perspectives on PAIN as an EXISTENTIAL PHENOMENON.<\/jats:p>","DOI":"10.22501\/jar.308804","type":"journal-article","created":{"date-parts":[[2018,9,28]],"date-time":"2018-09-28T09:39:26Z","timestamp":1538127566000},"source":"Crossref","is-referenced-by-count":1,"title":["Between Agony and Ecstasy: Investigations into the Meaning of Pain"],"prefix":"10.22501","author":[{"family":"Barbara Macek","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:52Z","timestamp":1727193172000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/308804\/470238"}},"issued":{"date-parts":[[2018,9,28]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/jar.308804","published":{"date-parts":[[2018,9,28]]}},{"indexed":{"date-parts":[[2025,2,14]],"date-time":"2025-02-14T05:29:32Z","timestamp":1739510972226,"version":"3.37.0"},"posted":{"date-parts":[[2025,2,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"iTouch Store is a video created for the eponymous exhibition, where physical jewellery is presented in a speculative advertising style. Rejecting words, it offers the viewer a tactile experience through visual perception, reminiscent of advertisements for beauty industry devices. Jewellery, animated video effects, and a multi-layered composition transform this film into an exploration of the boundaries of touch in the digital age. How does jewellery feel when it can only be touched with the eyes?\u2028\n\niTouch Store, 2019, A-Gallery, Tallinn\u2028\nEditing and effects: Ando Naulainen\u2028\nSound: Andres N\u00f5lvak\u2028\nConcept and jewellery: Darja Popolitova<\/jats:p>","DOI":"10.22501\/rc.3415947","type":"posted-content","created":{"date-parts":[[2025,2,13]],"date-time":"2025-02-13T18:54:16Z","timestamp":1739472856000},"source":"Crossref","is-referenced-by-count":0,"title":["iTouch Store"],"prefix":"10.22501","author":[{"family":"Jewellery witch Seraphita","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,13]],"date-time":"2025-02-13T18:54:16Z","timestamp":1739472856000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3415947\/3415948"}},"issued":{"date-parts":[[2025,2,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3415947","published":{"date-parts":[[2025,2,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,6]],"date-time":"2025-12-06T05:02:53Z","timestamp":1764997373412},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,11,7]]},"abstract":"As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called \u2018a post-truth\u2019 world. In this brutal environment where \u2018information\u2019 is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms.\n\nIn artistic research, the empathic communication of information and experience \u2013 and not merely the \u2018verbally empathic\u2019 \u2013 is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be.\n\nRisk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and\/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake.\n\nTo propose a space where such risks may be taken, I shall revisit Gillian Rose\u2019s metaphor of \u2018the fold\u2019 that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of \u2018unfolding\u2019, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose\u2019s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.<\/jats:p>","DOI":"10.22501\/nmh-ar.503395","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T11:51:19Z","timestamp":1618314679000},"source":"Crossref","is-referenced-by-count":1,"title":["Artistic Research as a Process of Unfolding"],"prefix":"10.22501","author":[{"family":"Darla Crispin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:31Z","timestamp":1727194111000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/503395\/503396"}},"issued":{"date-parts":[[2019,11,7]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.503395","published":{"date-parts":[[2019,11,7]]}},{"indexed":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T12:34:19Z","timestamp":1764765259191,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,8,17]],"date-time":"2021-08-17T00:00:00Z","timestamp":1629158400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2021,8,17]]},"abstract":"(Un-)settling sites and styles: In search of new expressive means.Eight performers (voice, piano, violin, cello), one musicologist and one composer aspired to unsettle their habitual ways of working with musical interpretation of 20th century and contemporary Norwegian composers. By collaborating to develop new perspectives and methods, they investigated questions of style and how different sites influenced their rehearsals and performances. How do performers find new expressive means? How can intersubjective exchange within a research group contribute to articulating tacit knowledge? How can mutual unsettling approaches influence conventional or subjective attitudes of fidelity to a score or a performance tradition? How can novel sounds, musical material and musical meaning emerge beyond prejudiced conceptions or through improvisation?The three-year project was facilitated by the Norwegian Artistic Research Programme and the Faculty of Fine Art, Music and Design (Grieg Academy), University of Bergen, and resulted in texts, sound recordings, videos, and new commented score editions.<\/jats:p>\n keywords: music, Music analysis, musicology, Geirr Tveitt, Harald S\u00e6verud, Morten Eide Pedersen, Fartein Valen, Laryngoscope, Modality, Intersubjectivity, Knut Vaage, Comprovisation, Sonotic, performance, voice, Strings, Piano, Cello, Chamber music, Norwegian composers, contemporary music, Musical interpretation, Musical improvisation, Musical expression, Musical intentions, Musical meaning, unsettling, sites, styles, phraseology, semiology, 20th century music, string quartet, performance practice, KMD_Grieg<\/jats:p>","DOI":"10.22501\/kmd-ar.987790","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:19:23Z","timestamp":1684747163000},"source":"Crossref","is-referenced-by-count":0,"title":["(Un-) settling Sites and Styles"],"prefix":"10.22501","author":[{"family":"Einar R\u00f8ttingen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Bente Elisabeth Finseraas","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T12:30:26Z","timestamp":1764765026000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/987790\/987791"}},"issued":{"date-parts":[[2021,8,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.987790","published":{"date-parts":[[2021,8,17]]}},{"indexed":{"date-parts":[[2026,1,18]],"date-time":"2026-01-18T06:40:11Z","timestamp":1768718411161,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,17]],"date-time":"2026-01-17T00:00:00Z","timestamp":1768608000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201cObjects under investigation\u201d is a collection of separately conceived works addressing the problem of the text as medium and, more broadly, mediality in art from an experimental perspective. The term object[s] functions as a neuter reference to the text both as a phenomenon and as a product in itself. It evokes the idea of something that can be physically handled, without implying a necessarily physical object.<\/jats:p>\n keywords: asemic, asemic writing, visual poetry, code, Installation Art, concrete poetry, sprachkunst<\/jats:p>","DOI":"10.22501\/rc.2388114","type":"posted-content","created":{"date-parts":[[2026,1,17]],"date-time":"2026-01-17T16:00:37Z","timestamp":1768665637000},"source":"Crossref","is-referenced-by-count":0,"title":["THIS IS IT"],"prefix":"10.22501","author":[{"family":"Federico Federici","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,17]],"date-time":"2026-01-17T16:00:37Z","timestamp":1768665637000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2388114\/2443865"}},"issued":{"date-parts":[[2026,1,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2388114","published":{"date-parts":[[2026,1,17]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:23:36Z","timestamp":1725927816538},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,7,4]]},"abstract":"The aim of this research is to elaborate on the most effective collaborative strategies for seamlessly integrating instrumental music and theatre into family performances. To create context and background, this research addresses the anticipated role and dynamic evolution of instrumental music in theatre.\n \nThe theoretical framework consists out of the \u2018issue of narrativity\u2019 (Meelberg, 2008c) which focusses on frame of reference influence, according to Robert Zatorre (2005), combined with insight from the models of collaboration: \u2018het Kompas\u2019 (Bremekamp et al., 2010), \u2018the five dysfunctions of a team\u2019 (Lencioni, 2002) and the \u2018forming\u2013storming\u2013norming\u2013performing model of group development\u2019 (Tuckman, 1965). \nThis research examines the methods of organizations such as Oorkaan and Het Houten, mapping the established frameworks for instrumental music and theatre. \n \nThroughout these theories the complex reality of collaborations within the characteristics of family performances (i.e. a linear progression with a cyclical feel) is systematically described and analyzed, resulting in a new conceptual model. The model was tested by conducting semi-structured interviews combined with field research.\n \nFindings were that the sharper the definition of the target group, the clearer the cooperation and the more distinctive the product. This outcome becomes a realistic goal when the direction and associated process is clear. Furthermore, the framework can be used as a tool for those wishing to enter the field of interdisciplinary collaboration between theatre and music, with a focus on family performances. It is relevant for graduates in order to achieve a successful collaboration. They need to overcome challenges at the start of their career due to lack of knowledge of each other\u2019s discipline.<\/jats:p>","DOI":"10.22501\/koncon.1856332","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:35:40Z","timestamp":1725921340000},"source":"Crossref","is-referenced-by-count":0,"title":["\u2018What are the most effective collaborative strategies to seamlessly integrate instrumental music and theatre in family performances?\u2019"],"prefix":"10.22501","author":[{"family":"Inge Mulder","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:35:41Z","timestamp":1725921341000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1856332\/2606117"}},"issued":{"date-parts":[[2024,7,4]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1856332","published":{"date-parts":[[2024,7,4]]}},{"indexed":{"date-parts":[[2025,3,8]],"date-time":"2025-03-08T05:17:35Z","timestamp":1741411055975,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Landaktig poesi\/Poetics of landness\/Ti\u00e9mpo de las tierras er en p\u00e5g\u00e5ende samarbeids- og utvekslingsplattform mellom Stacy Jo Scott (OR, USA), Arely Amaut (Cusco, Peru) og Sigrid Espelien (Oslo, Norge).<\/jats:p>\n keywords: landaktig poesi, poetics of landness, tiempo de las tierras, stacy jo scott, arely amaut, sigrid espelien, jording med bl\u00e5leire, 3D scanning, 3D, 3D printing, 3D printing med leire, clay 3d printing, lutum, collaboration, samarbeid<\/jats:p>","DOI":"10.22501\/rc.2981762","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:06:52Z","timestamp":1741331212000},"source":"Crossref","is-referenced-by-count":0,"title":["Landaktig poesi\/Tiempos de las tierras\/Poetics of landness"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:06:52Z","timestamp":1741331212000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2981762\/2981763"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2981762","published":{"date-parts":[[2025,3,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,4,26]],"date-time":"2024-04-26T00:27:20Z","timestamp":1714091240348},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["envelope"],"published-print":{"date-parts":[[2023,6,26]]},"DOI":"10.22501\/envelope.2105246","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T22:14:44Z","timestamp":1714083284000},"source":"Crossref","is-referenced-by-count":0,"title":["about fish, gardens, gardening and a gardener"],"prefix":"10.22501","author":[{"family":"Margit Busch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["envelope"],"language":"en","deposited":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T22:14:45Z","timestamp":1714083285000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2105246\/2105244"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelope.2105246","published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T05:29:32Z","timestamp":1740806972672,"version":"3.38.0"},"posted":{"date-parts":[[2025,2,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,27]],"date-time":"2025-02-27T00:00:00Z","timestamp":1740614400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Psychoanalysis is always targeted in theory with armchair theorizing. A very distorted sense of the phenomena from the armchair introspection and speculation and almost-limited theorizing in behavioral psychologies and even in psychoanalysis invests itself in human experiential stances instead of objective observation. To construct a theory based upon these phenomena, however, there\u2019s too much data. What psychoanalysts do is to demonstrate to the people, through self-experiments, how simple it is to misunderstand what is actually in their consciousness and in their first-person data. What\u2019s remarkable about consciousness is that it is not continuous. There are countless voids in the information of consciousness, some of which work in the psychoanalytic experience of diagnosing symptoms in first- person data, the beliefs about the experiences to which individuals have exclusive access. Its discontinuity, the voids and the holes are limited to these beliefs. For the fact that language works discursively, humans may renounce their privileged access to these experiences and shift their focus from what they believe to what actually is the case. In the end, there will be a scientific narrative in which the conscious self will not be a character. A living body, a living brain, and everything else is all that exists. The first-person narrative would be extracted from that third-person account. The conscious self never exists in any other sense. Thinking that it would exist is the illusion.<\/jats:p>\n keywords: psychoanalysis, virtual reality, Discourse<\/jats:p>","DOI":"10.22501\/rc.3451399","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:07:41Z","timestamp":1740740861000},"source":"Crossref","is-referenced-by-count":0,"title":["Psychoanalysis for the Virtual Reality"],"prefix":"10.22501","author":[{"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:07:42Z","timestamp":1740740862000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3451399\/3451398"}},"issued":{"date-parts":[[2025,2,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3451399","published":{"date-parts":[[2025,2,27]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:27Z","timestamp":1742358147308,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0005","type":"journal-article","created":{"date-parts":[[2018,9,27]],"date-time":"2018-09-27T15:23:14Z","timestamp":1538061794000},"source":"Crossref","is-referenced-by-count":0,"title":["La ricerca artistica quale strategia di sviluppo e di internazionalizzazione dei Conservatori e delle Accademie europee"],"prefix":"10.22501","author":[{"given":"Leonella","family":"Grasso Caprioli","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2017,4,27]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:46Z","timestamp":1742292166000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/it\/la-ricerca-artistica-quale-strategia-di-sviluppo-e-di-internazionalizzazione-dei-conservatori-e"}},"issued":{"date-parts":[[2017,4,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0005","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2017,4,27]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:28Z","timestamp":1742358148109,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0014","type":"journal-article","created":{"date-parts":[[2019,1,18]],"date-time":"2019-01-18T23:29:51Z","timestamp":1547854191000},"source":"Crossref","is-referenced-by-count":0,"title":["Philosophy AS artistic research: Philosophy On Stage"],"prefix":"10.22501","author":[{"given":"Arno","family":"B\u00f6hler","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,1,18]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:52Z","timestamp":1742292172000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/philosophy-artistic-research-philosophy-stage"}},"issued":{"date-parts":[[2019,1,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0014","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,1,18]]}},{"indexed":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:33:58Z","timestamp":1761665638368,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"36","license":[{"start":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T00:00:00Z","timestamp":1761609600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,28]]},"abstract":"The concept of non-hierarchical collaboration in score-based music offers a new perspective on the score and the instrument as distinct agents within the creative process. This case study, based on my co-creative collaboration with composer Francisco Corthey, explores how my relationship with the instrument \u2013 and other experiential factors \u2013 shaped the development of the composition, addressed ethical questions surrounding collaboration, and contributed to the production of musical meaning in a work presented to me as a notated score.By sharing control over musical parameters with my instrument and body \u2013 and by deliberately unlearning aspects of my instrumental technique \u2013 I aimed to cultivate a practice specific to this work, one that treats the musical composition as a site- and context-responsive event. This approach led me to examine how elements such as performance context, venue, and audience affect the emergence of meaning and inform my evolving performance strategies, through processes of responsiveness and an awareness of fragility as a generative force.Several of these reflections are gathered in the Shared Space model \u2013 an ongoing artistic experiment that explores inclusive, responsive practices within concert settings.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=3955500&file=3955517\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/span><\/jats:p>\n keywords: co-creation, fragility, Shared Space, Musicking, contemporary music, performance practice<\/jats:p>","DOI":"10.22501\/jar.1886373","type":"journal-article","created":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:27:46Z","timestamp":1761665266000},"source":"Crossref","is-referenced-by-count":0,"title":["I am Fine, but I am Trembling"],"prefix":"10.22501","author":[{"family":"Sergej Tchirkov","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:27:47Z","timestamp":1761665267000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1886373\/3877263"}},"issued":{"date-parts":[[2025,10,28]]},"references-count":0,"journal-issue":{"issue":"36"},"URL":"https:\/\/doi.org\/10.22501\/jar.1886373","published":{"date-parts":[[2025,10,28]]}},{"indexed":{"date-parts":[[2025,11,30]],"date-time":"2025-11-30T20:40:55Z","timestamp":1764535255465,"version":"3.46.0"},"posted":{"date-parts":[[2025,11,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,30]],"date-time":"2025-11-30T00:00:00Z","timestamp":1764460800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition traces the development of a reflective arts and health practice during 2025. It brings together short written episodes, visual documentation, audio notes, and process materials to examine how artists make sense of the emotional, relational, and practical demands of working in care-based and community settings. The work sits alongside a written PDF and expands on it by presenting the reflections in a non-linear, multimodal format suited to artistic research.<\/jats:p>\n keywords: reflection, artist, arts and health, emerging artist, archive<\/jats:p>","DOI":"10.22501\/rc.4034499","type":"posted-content","created":{"date-parts":[[2025,11,30]],"date-time":"2025-11-30T20:38:31Z","timestamp":1764535111000},"source":"Crossref","is-referenced-by-count":0,"title":["Reflections on Reflecting"],"prefix":"10.22501","author":[{"family":"lisa hester","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,30]],"date-time":"2025-11-30T20:38:31Z","timestamp":1764535111000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4034499\/4034500"}},"issued":{"date-parts":[[2025,11,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4034499","published":{"date-parts":[[2025,11,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,1,10]],"date-time":"2025-01-10T05:12:02Z","timestamp":1736485922909,"version":"3.32.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2025,1,9]]},"abstract":"Transforming with the Artistic Palette\n\n\u2018Transforming with the Artistic Palette\u2019 is my PhD project in artistic research, a practice-led exploration of performer creativity, agency and collaborative composition, carried out at the Norwegian Academy of Music in the years 2018\u20132024. \n\nThe central idea of the project is the conceptualization of the artistic palette. The artistic palette comprises the skills and abilities I use in creative work (skillabilities). It develops with the creative work I engage in and is active in imaginative as well as evaluative processes. The artistic palette has been explored in collaborative work with five composers as well as in an own composition. I have explored it as a multidimensional concept, comprising embodied, contextual, relational and intuitive dimensions. By engaging with the artistic palette, new sonic materials and work methods have been created and I have shared compositional processes as a co-composer. It is a poetic and dynamic concept that keep developing with my experiences. By using my artistic palette in shared work, I have explored and expanded my creativity as a performer of contemporary classical music.\n\nThe five composers involved in the project come from a diverse background of styles, aesthetics and compositional approaches, as minimalistic music, improvisation and music theatre. Some of the creative partnerships build on previous work together. The works created in the project are Gradients (2023) by Karin Hellqvist and Henrik Strindberg, Solastalgia (2022) by Carola Bauckholt and Karin Hellqvist, One and the Other (Speculative Polskas for Karin) (2021\u201322) by Liza Lim with Karin Hellqvist, Eiksmarka Omland (2024) by Christian Wallumr\u00f8d and Karin Hellqvist, Pango (2021\u201324) by Karin Hellqvist and Chain of Triggers (2024) by Manos Tsangaris and Karin Hellqvist.\n\nThrough the artistic processes undertaken in this project, I have experienced a transformation of my performer\u2019s role into an increasingly creative one. From seeing myself as a faithful performer of works, I have come to view myself as a creating artist involved in the whole lifecycle of the works I perform and co-compose. By exploring the artistic palette in shared work, thoughts about connection, identity, responsibility, empowerment, complementarity, taste, ownership and transformation has come to the fore in my practice. Those topics are discussed across the works created in the project.\n\nThe methodology of the project is rooted in the specific forms of collaborative composition it comprises; engaging in improvisation, developing technological skills, accessing embodied performance materials, engaging in interdisciplinary work with a printed publication and developing connection through cyclical patterns of work where materials are circulated between participants. A curatorial process of selecting material for research has along with text writing, peer-review and publication processes been important research methods of the project.\n\nThe structure of this reflection is a compilation of six case studies wrapped with an introduction and a closing discussion. The reflection has been created over the course of the project and includes four already published articles. The project is situated in a broad artistic- and research field with connections to other collaborating performers and composers, artist researchers who develop their performance practices, historical composer-performer collaborations and the rich artistic contexts of the involved artists. I draw on theories of collaborative composition (Taylor, Lim, \u00d6stersj\u00f6, John-Steiner), Werktreue (Goehr), embodied knowledge (Merleau-Ponty, L\u00fcneburg), eco-anxiety (Albrecht) and identity (Hargreaves, Markus & Nurius).<\/jats:p>","DOI":"10.22501\/nmh-ar.2225687","type":"journal-article","created":{"date-parts":[[2025,1,9]],"date-time":"2025-01-09T08:25:47Z","timestamp":1736411147000},"source":"Crossref","is-referenced-by-count":0,"title":["Transforming with the Artistic Palette"],"prefix":"10.22501","author":[{"family":"Karin Emilia Hellqvist","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,1,9]],"date-time":"2025-01-09T08:25:49Z","timestamp":1736411149000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2225687\/2225688"}},"issued":{"date-parts":[[2025,1,9]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.2225687","published":{"date-parts":[[2025,1,9]]}},{"indexed":{"date-parts":[[2025,7,1]],"date-time":"2025-07-01T04:06:11Z","timestamp":1751342771340,"version":"3.41.0"},"posted":{"date-parts":[[2025,6,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,30]],"date-time":"2025-06-30T00:00:00Z","timestamp":1751241600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Este ensaio visual parte da figura do fazedor de imagens, onde articula experi\u00eancias\npessoais, mem\u00f3rias, imagens apropriadas e pr\u00e1ticas performativas para evidenciar\nque toda mem\u00f3ria \u00e9, em ess\u00eancia, partilhada e continuamente reencenada. A\npergunta-afeto que orienta o percurso \u00e9: e se eu fosse imagem? Um convite \u00e0\nreinven\u00e7\u00e3o coletiva dos modos de existir, fazer e imaginar. tal como os vaga-lumes de Didi-Huberman que persistem e\nbrilham mesmo em meio \u00e0 noite iluminada pelos holofotes\u2026 Dessa forma, convida-se a \nimaginar\u2026 imaginar apesar de tudo.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3768851","type":"posted-content","created":{"date-parts":[[2025,6,30]],"date-time":"2025-06-30T09:28:31Z","timestamp":1751275711000},"source":"Crossref","is-referenced-by-count":0,"title":["o fazedor de imagens"],"prefix":"10.22501","author":[{"family":"ska Batista","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,6,30]],"date-time":"2025-06-30T09:28:31Z","timestamp":1751275711000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3768851\/3768852"}},"issued":{"date-parts":[[2025,6,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3768851","published":{"date-parts":[[2025,6,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T14:41:52Z","timestamp":1765464112253,"version":"3.48.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","license":[{"start":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T00:00:00Z","timestamp":1765411200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,12,11]]},"abstract":"In the globalising world, our cultural influences have become more diversified than ever. At the same time, the code of good conduct on honouring intercultural sources of inspiration is still being written in the collective consciences of artists and audiences alike. The current mindset is being explored in an artistic research project, of which the concert this article focuses on was a component. \u201cApprocreations\u201d, an experimental solo concert, was atypical in terms of the conventions of the instruments played. The recital trialled the public\u2019s receptiveness by developing pioneering uses for a tradition-oozing instrument while casting thoughts into the perception of artistic identity in the crossfire of preconceptions, aftermaths of colonialism and cultural appropriation disputes. Would the public\u2019s sentiments differ from the performer\u2019s expectations? The author, having developed a time-tested perspective after decades of international touring as a non-African player of the Mande diatonic balafon, now zeroes in on the factors influencing how we interpret and feel about culturally complex art practices. Sociocultural and symbolic connotations of musical instruments are analysed in light of the affordance theory, and the instruments\u2019 evolution from cultural assets into universal vehicles for human creativity is pondered upon. Video samples from the concert stage concretise words into sounds and colours. The outcome of this artistic component is then inquired based on both self-reflection and audience feedback. Finally, as the controversy around cultural appropriation vs. inspiration extends beyond music to encompass a broader range of performing arts, the conclusion seeks to identify tendencies in the findings that might benefit art practitioners in other genres as well.<\/jats:p>\n keywords: artistic research, balafon, cultural appropriation, affordance, artistic identity, africa, global music<\/jats:p>","DOI":"10.22501\/ruu.2832020","type":"journal-article","created":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T14:31:58Z","timestamp":1765463518000},"source":"Crossref","is-referenced-by-count":0,"title":["Approcreations - Weight of an Absent Ancestry"],"prefix":"10.22501","author":[{"family":"Maarika Autio","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T14:31:58Z","timestamp":1765463518000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2832020\/2841086"}},"issued":{"date-parts":[[2025,12,11]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2832020","published":{"date-parts":[[2025,12,11]]}},{"indexed":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T17:47:21Z","timestamp":1767030441251,"version":"3.48.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"37","license":[{"start":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T00:00:00Z","timestamp":1766966400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,12,29]]},"abstract":"Playing the Mountain is an artistic research project investigating balance as the dynamic interplay of yinyang, through the practice of taijiquan (a Chinese internal martial art). Based on this embodied practice, I explore balance not as a state but as movement, by transposing this dynamic of opposing forces into a constellation of participatory, sculptural and expanded cinema forms. Drawing on principles of Chinese aesthetics from a diasporic perspective, Playing the Mountain deploys artistic strategies to consider agency, (non-)presence, tension, and resistance. This constellation traces unseen forces through kites, music, geological processes and Chinese calligraphy, gathering different ways to ask: what are the implications of understanding balance, not as a state, but as a process? This research project manifests through material investigations, martial arts practice, participatory exchanges and collaboration, as part of my broader PhD-in-Practice research project, undertaken at the Academy of Fine Arts Vienna. The exhibition and writing workshop were presented in Summer - Autumn 2022 at Centre[3] for Artistic + Social Practice, in Hamilton, Canada, curated by Lesley Loksi Chan; the kite-making workshop was conducted in Summer 2024 at Decentric Circles Assembly in Warsaw, Poland (various sites), curated by the Work Hard! Play Hard! working group.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=4081900&file=4081901\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/span><\/jats:p>\n keywords: artistic research, embodied knowledge, martial arts, yinyang, cosmology, participation<\/jats:p>","DOI":"10.22501\/jar.2794897","type":"journal-article","created":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T17:42:22Z","timestamp":1767030142000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing the Mountain"],"prefix":"10.22501","author":[{"family":"Serena Lee","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T17:42:22Z","timestamp":1767030142000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2794897\/2794898"}},"issued":{"date-parts":[[2025,12,29]]},"references-count":0,"journal-issue":{"issue":"37"},"URL":"https:\/\/doi.org\/10.22501\/jar.2794897","published":{"date-parts":[[2025,12,29]]}},{"indexed":{"date-parts":[[2026,1,29]],"date-time":"2026-01-29T22:30:30Z","timestamp":1769725830588,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,29]],"date-time":"2026-01-29T00:00:00Z","timestamp":1769644800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Questa esposizione fa parte di un progetto di ricerca artistica pi\u00f9 ampio, articolato in diverse declinazioni. Il focus presentato si concentra su un\u2019indagine specifica della violenza attraverso il dispositivo dell\u2019auto-conferenza, intesa come pratica performativa e riflessiva.La ricerca prende avvio dalle conferenze autofinzionali di Sergio Blanco, in particolare dalla sua elaborazione della violenza come costruzione narrativa, e si sviluppa attraverso la rielaborazione di un\u2019esperienza personale di violenza subita. In questo contesto, l\u2019autofinzione diventa uno strumento metodologico capace di mettere in relazione l\u2019esperienza vissuta, il discorso teorico e la rappresentazione.L\u2019auto-conferenza viene quindi intesa come una vera e propria metodologia di ricerca artistica: uno spazio in cui l\u2019esperienza personale si intreccia con riferimenti teorici e visivi, generando una riflessione critica sulla rappresentazione della violenza e sulle possibilit\u00e0 del racconto di s\u00e9 come pratica di conoscenza. L\u2019elemento autobiografico, sempre in bilico tra attendibilit\u00e0 e finzione, diventa cos\u00ec il punto di partenza per una riflessione che supera l\u2019io dell\u2019autore e si apre a una dimensione collettiva, coinvolgendo lettori e spettatori.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4097938","type":"posted-content","created":{"date-parts":[[2026,1,29]],"date-time":"2026-01-29T11:12:06Z","timestamp":1769685126000},"source":"Crossref","is-referenced-by-count":0,"title":["Non \u00e8 il gelato ad essere consumato ma chi lo vende."],"prefix":"10.22501","author":[{"family":"Alessandra Debernardi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,29]],"date-time":"2026-01-29T11:12:06Z","timestamp":1769685126000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4097938\/4097939"}},"issued":{"date-parts":[[2026,1,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4097938","published":{"date-parts":[[2026,1,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T23:40:05Z","timestamp":1769643605574,"version":"3.49.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T00:00:00Z","timestamp":1769558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,1,28]]},"abstract":"Vanessa Theme Ament\u2019s \"The Foley Grail\" was, for a long time, the only publication to discuss in detail the art of film sound effects (foley). In this issue, we review the third edition of the book while in dialogue with the author herself.<\/jats:p>\n keywords: foley, art, film, sound, performance<\/jats:p>","DOI":"10.22501\/artact.4132656","type":"journal-article","created":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T10:55:15Z","timestamp":1769597715000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound, Performance, and Technology: Considering The Foley Grail"],"prefix":"10.22501","author":[{"family":"Sara Pinheiro","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T10:55:16Z","timestamp":1769597716000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4132656\/4132657"}},"issued":{"date-parts":[[2026,1,28]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/artact.4132656","published":{"date-parts":[[2026,1,28]]}},{"indexed":{"date-parts":[[2026,1,26]],"date-time":"2026-01-26T18:24:15Z","timestamp":1769451855774,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,25]],"date-time":"2026-01-25T00:00:00Z","timestamp":1769299200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"P\u00e1gina de arquivo de documenta\u00e7\u00e3o relativa \u00e0 disciplina Desenho e Performatividade<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4050080","type":"posted-content","created":{"date-parts":[[2026,1,25]],"date-time":"2026-01-25T22:48:42Z","timestamp":1769381322000},"source":"Crossref","is-referenced-by-count":0,"title":["Desenho e Performatividade"],"prefix":"10.22501","author":[{"family":"Clara Ginoulhiac","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,25]],"date-time":"2026-01-25T22:48:42Z","timestamp":1769381322000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4050080\/4050081"}},"issued":{"date-parts":[[2026,1,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4050080","published":{"date-parts":[[2026,1,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,12]],"date-time":"2026-03-12T03:20:58Z","timestamp":1773285658064,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,12,31]]},"abstract":"Key words: Place Identity, Conflict Zones, Border Territories, Liminality, Peripheral Spaces and Voices, Access to Spaces, Right to Speak and Dissemination. \n \n \nThis exposition explores concepts of liminality, access, and means of expression using the divided island of Cyprus as a main case study for analysis and reflection. The exposition is structured in sections or liminal means of expression, which are punctuated, interrupted and \/ or interrogated by \"normative\" voices such as \"historical facts\", definitions, museum displays, etc. published by voices of authority or agency:\n \nPoetic dialogues: These are descriptive letters, Coffee Letters, co-authored by Susan Brind & Jim Harold, written while travelling and in a state of liminality. The letters have no direct addressee nor any formal signing-off. They are intended as fragments of letters, and moments of time passing from an unidentified \u201cI\u201d to and un-named \u201cyou\u201d.\n \nPhotographic essay on the Buffer Zone, Caesura, part of an ongoing series of images by Jim Harold that document the landscape along and within the demarcation lines of the UN-brokered Buffer Zone (established 45 years ago). These photographs are intentionally understated images that touch upon the zone\u2019s state of disruption and dislocation (physical, social political, and cultural) and that of a returning, if misshapen, appearance of idyll within the uninhabited landscape.\n \nExploring the role of the 'self' and the 'other': Part 1, by Ana Souto, questions the role of the 'other' and the 'self', the outsider educator negotiating postcolonial tensions around agency and access with local students, open to interpretative quotes from established authors, reflections through texts and images.\n\nExploring the role of the 'self' and the 'other': Part 2, by Susan Brind and Jim Harold, reflects on the use of Travelling Colloquia and Nomadic Dialogues as methods to enable meaningful exchanges with people with local knowledge. This is exemplified by the CCFT Nicosia Colloquium, 2016; Timeless Encounters: 'Place of Barley', Agios Sozomenos, 2018; and the Buffer Fringe 2019, Nicosia, in addition to conversations in the space of the City.\n \nThree other sections reflect a multiplicity of observations, facts and voices that, collaged together, reflect the complexity of place, and the processes and methods used to explore these ideas.The main methodology of this submission is practice-led and phenomenological in nature, moving from visual, textual, and reflexive ethnography to autoethnographic scenarios, explored and analysed through dialogue and exchange. This collaboration between the authors sits under the umbrella of the Creative Centre for Fluid Territories (CCFT), an international research centre which interrogates how interdisciplinary artistic research practices contribute to and share critical insights about place making, belonging and occupation. The core participants in CCFT are a group of artistic researchers, architects, designers and cultural theorists from England, Scotland, Norway and Cyprus whose practices, individual and collectively, seek to consider the role of artistic research in shaping narratives of place. Attention has been given to the diversity of each creative and academic practice to allow for the expression of difference as a dynamic aspect of interaction. CCFT\u2019s working methods build on an established mutual respect; track record and insight, rooted in a continued collaborative relationship that has emerged through trust and dialogue. The collaboration focuses on practice-based research methods, exploiting the creative intersection between image and text, presented as performance, publication, installation, architectural and design interventions, and spatial practices. \n \nCCFT\u2019s key methods are the use of Travelling Colloquia and Nomadic Dialogues as strategies to explore the meaning(s) of \u2018place\u2019 from different locations, perspectives, and across time. This exposition, focusing on Cyprus as a case study, offers a multidisciplinary collage of contrasting voices which does not aim to resolve the question of liminality, but add liminal voices and spaces to the debate.\n \nNote: The descriptive text about CCFT, its membership, focus and approach is extracted from the group's aims and objectives and is part of an introductory text in a forthcoming publication Fluid Territories, University of Bergen, 2020.<\/jats:p>","DOI":"10.22501\/ruu.762132","type":"journal-article","created":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T10:38:09Z","timestamp":1577788689000},"source":"Crossref","is-referenced-by-count":2,"title":["Exploring Liminality in Cyprus: Spaces, Voices, and means of Expression"],"prefix":"10.22501","author":[{"family":"Jim Harold","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ana Souto Galvan","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Susan Brind","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:56Z","timestamp":1727193716000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/762132\/762133"}},"issued":{"date-parts":[[2019,12,31]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/ruu.762132","published":{"date-parts":[[2019,12,31]]}},{"indexed":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T08:46:00Z","timestamp":1776674760737,"version":"3.51.2"},"posted":{"date-parts":[[2026,4,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T00:00:00Z","timestamp":1776643200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Rammer og romUtvikling av toradarspel med utgangspunkt i overf\u00f8ring av l\u00e5tspel fr\u00e5 hardingfele og fele. Prosjektet r\u00f8rer seg i feltet tradisjonsmusikk i Noreg og Sverige. Det har teke utgangspunkt i dei mest vanlege instrumenta i sjangeren, hardingfela og fela, og kandidaten sine hovudinstrument, toradar og treradar. Fokus for utforskinga har vore instrumentet, to ulike bygdedanstypar, samspel i duoformat og samspel med dansarar. Tema har vorte unders\u00f8kt gjennom overf\u00f8ring og ut\u00f8ving av l\u00e5tmateriale i Vestland og Hedmark, komponering av nye l\u00e5tar og spel med dans. Utforskinga har vorte gjort solo og i samspel med Jeanette Evansson, fele\/hardingfele, med Jonas \u00c5kerlund, feler m.m., og med dansarane H\u00e5kon Dregelid og Ami Dregelid. Dei forskjellige elementa har p\u00e5verka kvarandre. Prosjektet har stilt sp\u00f8rsm\u00e5l som: Kva opplever me er det mest vesentlege i l\u00e5tspel i dei to musikktradisjonane? Kor er rommet for variasjon? Kva er dei kunstnarlege kvalitetane innan desse rammene? Kva val gjer eg i overf\u00f8ringsprosessen fr\u00e5 hardingfela\/fela til mitt instrument? Kva er skilnaden mellom ein l\u00e5t spelt med dans og ein l\u00e5t spelt utan dans? Kva er det som gjer spel dansbart? Kva er det som gjer dans spelbar? Kva funksjon har flow i det ut\u00f8vande arbeidet? Eg har sett og ser eit behov for fleire uttrykksformer p\u00e5 toradar, behov for spr\u00e5k og omgrep om det \u00e5 spela instrumentet, og eit spr\u00e5k for kva som skjer i samspel med dans. Prosjektet framhevar og utdjupar kvalitetar i sjangeren, og det er desse s\u00e6reeigne kvalitetane og korleis dei kommuniserer som har vore fokus i prosessen og som har kome m\u00e5tar fram p\u00e5 ulike i resultata. Prosjektet har gjeve kunstnarlege resultat i form av solo-album, duo-album, og album spelt inn med dansarar Studien f\u00f8rte ogs\u00e5 til uventa kunstnarlege resultat med eit nyutvikla instrument, treradaren, ein to-i-ein-treradar, bygd av instrumentmakaren Emmanuel Pariselle. Eitt l\u00e6reundervisningsverk i form av ebok, med lyd og bilde, vart ogs\u00e5 utvikla undervegs. Refleksjonsdelen av prosjektet best\u00e5r av tekstar som set s\u00f8kelyset p\u00e5 prosessane fram mot dei ulike kunstnarlege resultata, og plasserer prosjektet i kunstfagleg kontekst. Tittelen er inspirert av professor i kulturfilosofi Mikkel B. Tin, og seier noko om samspelet om tradisjon og nyutvikling, forventingar og forventingsbrot \u2013 ein grunnstein i Rom og rammer. AbstractScope and Space Development of melodeon performance practices based on the transfer of tune-playing from the Hardanger fiddle and the fiddle. This project operates within the field of traditional music in Norway and Sweden. It takes as its point of departure the most common instruments in the genre\u2014the Hardanger fiddle and the violin\u2014alongside the candidate\u2019s primary instruments: the two-row and three-row diatonic accordion. The exploration has focused on the instrument, two distinct types of traditional dance tunes, ensemble playing in a duo format, and collaboration with dancers.The themes have been examined through the transfer and performance of tune material from Vestland and Hedmark, the composition of new material, and performances in collaboration with dancers. The exploration has been carried out both solo and in collaboration with Jeanette Evansson (fiddle\/Hardanger fiddle), Jonas \u00c5kerlund (fiddles and others), and dancers H\u00e5kon Dregelid and Ami Dregelid. The different elements have influenced one another throughout the process.The project poses questions such as: What do we perceive as the most essential aspects of tune-playing within these two musical traditions? Where is the space for variation? What are the artistic qualities within these frameworks? What choices do I make in the process of transferring material from the Hardanger fiddle\/violin to my instrument? What is the difference between a tune performed with dance and one performed without? What makes music danceable? What makes dance playable? What role does flow play in the act of performance? I have identified a need for a wider range of expressive forms on the two-row accordion, as well as a need for a clearer language and conceptual framework for describing the act of playing the instrument, and for articulating what occurs in interaction with dancers. The project highlights and deepens qualities within the genre, and it is these distinctive qualities\u2014and how they are communicated\u2014that have been central to both the process and the varied outcomes.The project has resulted in artistic outputs in the form of a solo album, a duo album, and an album created in collaboration with dancers. The study also led to unexpected artistic outcomes in the form of a newly developed instrument: a hybrid two-in-one three-row melodeon built by instrument maker Emmanuel Pariselle. In addition, a pedagogical work in the form of an e-book, including audio and visual material, was developed during the process.The reflective component of the project consists of texts that highlight the processes leading to the various artistic results and situate the project within an artistic research context. The title is inspired by the cultural philosopher Mikkel B. Tin, and points to the interplay between tradition and innovation, expectations and the breaking of expectations\u2014fundamental aspects of Scope and Space.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2429933","type":"posted-content","created":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T07:55:58Z","timestamp":1776671758000},"source":"Crossref","is-referenced-by-count":0,"title":["RAMMER OG ROM"],"prefix":"10.22501","author":[{"family":"Anette Thorsheim","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T07:55:59Z","timestamp":1776671759000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2429933\/3975697"}},"issued":{"date-parts":[[2026,4,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2429933","published":{"date-parts":[[2026,4,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T14:07:15Z","timestamp":1779890835314,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T00:00:00Z","timestamp":1779840000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,27]]},"abstract":"This research aims to explore how the memory technique of Method of Loci (originally from classical rhetoric) could be applied to music, especially within the context of improvisation. Historical applications of the method of Loci and relation to ideas from modern psychology are examined. Specific mental processes which could be used both for memorising and composing are highlighted, and explored in a first case study based on the poem, 'Jabberwocky' (Lewis Carroll).<\/jats:p>\n keywords: loci, classical rhetoric, memory, Lewis Carroll, Jabberwocky<\/jats:p>","DOI":"10.22501\/koncon.4124466","type":"journal-article","created":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T13:20:58Z","timestamp":1779888058000},"source":"Crossref","is-referenced-by-count":0,"title":["Method of Loci- from Memory Technique to Creative Framework - Preliminary Research Report"],"prefix":"10.22501","author":[{"family":"James Hewitt","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T13:20:58Z","timestamp":1779888058000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4124466\/4124465"}},"issued":{"date-parts":[[2026,5,27]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/koncon.4124466","published":{"date-parts":[[2026,5,27]]}},{"indexed":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T21:58:13Z","timestamp":1777672693681,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"Picking Flowers in the City is exposing the City as a place of movement, colour, sound, temporalities, tautologies, dreameries and exchange. Moving image and sound assemblages attune and lead to attentive artistic research practices conducted in urban space that portrait the city beyond representation.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.2909261","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:05:47Z","timestamp":1777449947000},"source":"Crossref","is-referenced-by-count":0,"title":["Picking Flowers in the City"],"prefix":"10.22501","author":[{"family":"Denise Ziegler","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:05:48Z","timestamp":1777449948000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2909261\/2989632"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2909261","published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T14:13:28Z","timestamp":1777990408674,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2026,5,5]]},"abstract":"Introduction: Dwelling at the Thresholds of Listening<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.4409791","type":"journal-article","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:27:39Z","timestamp":1777987659000},"source":"Crossref","is-referenced-by-count":0,"title":["Introduction: Dwelling at the Thresholds of Listening"],"prefix":"10.22501","author":[{"family":"Jacek Smolicki","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:27:40Z","timestamp":1777987660000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4409791\/4409792"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jss.4409791","published":{"date-parts":[[2026,5,5]]}},{"indexed":{"date-parts":[[2026,5,18]],"date-time":"2026-05-18T08:09:04Z","timestamp":1779091744392,"version":"3.51.4"},"posted":{"date-parts":[[2026,5,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T00:00:00Z","timestamp":1777593600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Commedia Dell\u2019arte is a theatrical form which flourishes in 16th century Italy, which is characterised by its stock archetype characters. Each characters represents a certain passion which needs to be clearly understood by the audience from their voices, since facial expressions are limited due to the mask. A certain characteristics then needs to be implemented in their vocal expression to achieve this understanding.<\/jats:p>\n keywords: kcpedia<\/jats:p>","DOI":"10.22501\/rc.4397887","type":"posted-content","created":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T07:01:22Z","timestamp":1777618882000},"source":"Crossref","is-referenced-by-count":0,"title":["Commedia Dell\u2019arte : The Voice Behind The Mask"],"prefix":"10.22501","author":[{"family":"Fira Ariono","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,18]],"date-time":"2026-05-18T07:48:21Z","timestamp":1779090501000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4397887\/4397886"}},"issued":{"date-parts":[[2026,5,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4397887","published":{"date-parts":[[2026,5,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T10:06:55Z","timestamp":1779185215504,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T00:00:00Z","timestamp":1779148800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2026,5,19]]},"abstract":"In this exposition, we - Emma Cocker and Nicole Wendel -present an assemblage of video extracts and artefacts generated through a collaborative practice called Ecologies of Relation, for demonstrating how Harmut Rosa\u2019s conceptualisation of resonance might manifest in and through the materialities of artistic research. In turn, we share how artistic research might enrich Rosa\u2019s conceptualisation, through fragments of a poetic vocabulary evolved in and through the practising of different Ecologies of Relation, a language emerging in fidelity to the embodied experience of resonance itself. Each Ecology of Relation creates conditions for the potential of what Rosa refers to as horizontal, diagonal and vertical axes of resonance: the horizontal axis of resonance relates to the in-touch-ness between human subjects, the reciprocity, responsiveness and mutuality of collaboration; the diagonal axis involves correspondence with materials, attending to the \u2018singing of things\u2019, whilst the vertical axis opens towards the potential of an unknown, the \u2018appearance of the more\u2019. Within this exposition, we present a series of video extracts drawn from a single Ecology of Relation activated live on Zoom on 18 September 2025 where we each engage in an improvisatory process of exploration attentive to Rosa\u2019s three axes of relation. Alongside we share a poetic text drawn from transcript material generated over the last two years, reorganised in relation to (and with aim of providing a vocative articulation of) Rosa\u2019s characteristic criteria or conditions for resonance: affection, self-efficacy, transformation and uncontrollability.<\/jats:p>\n keywords: Ecologies of Relation, resonance, language-based artistic research, drawing, collaboration, not knowing, conversation, ecologies, ecologies of practices, experimental reading, material correspondence<\/jats:p>","DOI":"10.22501\/hub.3877493","type":"journal-article","created":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T09:19:35Z","timestamp":1779182375000},"source":"Crossref","is-referenced-by-count":0,"title":["The Appearance of the More: Ecologies of Relation"],"prefix":"10.22501","author":[{"family":"Emma Cocker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Nicole Wendel","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T09:19:36Z","timestamp":1779182376000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3877493\/3877561"}},"issued":{"date-parts":[[2026,5,19]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/hub.3877493","published":{"date-parts":[[2026,5,19]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:19Z","timestamp":1727238619094},"posted":{"date-parts":[[2024,7,19]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"will follow.<\/jats:p>","DOI":"10.22501\/rc.2931235","type":"posted-content","created":{"date-parts":[[2024,7,19]],"date-time":"2024-07-19T14:11:49Z","timestamp":1721398309000},"source":"Crossref","is-referenced-by-count":0,"title":["SoSe2024 - Why Noise Really Matters (WIP)"],"prefix":"10.22501","author":[{"family":"Alameddine Adel Akram","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:40:56Z","timestamp":1727192456000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2931235\/2931236"}},"issued":{"date-parts":[[2024,7,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2931235","published":{"date-parts":[[2024,7,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:20Z","timestamp":1727238620003},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatiotemporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nIn the midst of the pandemic, locked in, people searched for virtual escapes. The idea of role and gameplay was utilised to inhabit fictional worlds.<\/jats:p>","DOI":"10.22501\/rc.1282122","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T06:47:47Z","timestamp":1622702867000},"source":"Crossref","is-referenced-by-count":0,"title":["CHANGING PROTAGONISTS"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:20Z","timestamp":1727192780000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282122\/1282123"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1282122","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:23Z","timestamp":1727238623840},"posted":{"date-parts":[[2020,2,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Play in the format of the philosophical dialogue, 2019\n\nDrama is pretense. But, unlike fiction, a theatrical play is not a pretended representation of a state of affairs; rather it is the pretended state itself, in which the actors pretend to be the characters doing the pretending in the actual performance of the theatrical play. The actor is in this way irrealised in the character. Aside from writing the play, which consists largely in pseudo assertions, the playwright gives the actors directions on how to pretend to make assertions and to perform actions. Therefore, the playwright is writing a recipe for pretense. Instead of pretending to write assertions, the playwright gives directions to the actors on how to enact a pretense.\n\nThe philosophical dialogue has been an established, although uncommon, method of philosophical writing, which usually deploys fictional characters to present a discussion between several divergent viewpoints on a topic of ordinary or philosophical interest. The juxtaposition and debating of opinions in ordinary uses of language, without prioritizing any opinion, endows the dialogue with open-endedness instead of conclusiveness. As McKeon (in Prince, 1996: 3) argues:\n\n\"Dialogue is statement and counterstatement, based on ordinary ways of life and ordinary uses of language, with no possible appeal to a reality beyond opposed opinions except through opinions about reality. Truth is perceived in perspective, and perspectives can be compared, but there is no overarching inclusive perspective.\"\n\nIn this exposition, I exploit the dialogic format to expose the views of Jean-Paul Sartre, a well known philosopher and father of the existentialist philosophical and literary movement, and Maurice Blanchot, a rather obscure philosopher of literature and literary critic. Notably, both Sartre and Blanchot were active in the post second world war period, which significantly shaped their philosophical insights; specifically on modes of writing, including fictional prose, about a variety of topics, from politics, to ethics and aesthetics. Because referencing is rarely used in philosophical dialogues, here I employ full bibliographical referencing in the end. The dialogue presents an advantage for reaching a wider readership, beyond the confines of those with strictly philosophical and academic interests.\n\nPrince, Michael, \"Philosophical Dialogue in the British Enlightenment: Theology, Aesthetics and the Novel\", Cambridge: Cambridge University Press, 1996.<\/jats:p>","DOI":"10.22501\/rc.787709","type":"posted-content","created":{"date-parts":[[2020,2,5]],"date-time":"2020-02-05T21:06:05Z","timestamp":1580936765000},"source":"Crossref","is-referenced-by-count":0,"title":["Rehearsal for A Play in Two Acts"],"prefix":"10.22501","author":[{"family":"Zoe Panagiota (aka Betty) Nigianni","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:27Z","timestamp":1727192907000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/787709\/787710"}},"issued":{"date-parts":[[2020,2,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.787709","published":{"date-parts":[[2020,2,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:23Z","timestamp":1727238623882},"posted":{"date-parts":[[2017,5,30]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A videoclip of me finalizing a sculpture in the series Ecce Homo, 2011.<\/jats:p>","DOI":"10.22501\/rc.368766","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:52:55Z","timestamp":1498067575000},"source":"Crossref","is-referenced-by-count":0,"title":["Self Portrait Battered"],"prefix":"10.22501","author":[{"family":"Gert Germeraad","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:41Z","timestamp":1727192981000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/368766\/368767"}},"issued":{"date-parts":[[2017,5,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.368766","published":{"date-parts":[[2017,5,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:26Z","timestamp":1727238626020},"posted":{"date-parts":[[2020,11,16]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Dette er v\u00e5rt andre konsept til sansehagen, den handler om et akvarium.<\/jats:p>","DOI":"10.22501\/rc.1036923","type":"posted-content","created":{"date-parts":[[2020,11,16]],"date-time":"2020-11-16T16:32:24Z","timestamp":1605544344000},"source":"Crossref","is-referenced-by-count":0,"title":["Sansehage Konsept 2"],"prefix":"10.22501","author":[{"family":"Marius Skaten Aarbakke","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ingunn Hatlehol Andreassen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ida Anemone Roland Berger","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Tyler Akselsen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ida Emilie Viervoll","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:52Z","timestamp":1727192872000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1036923\/1036924"}},"issued":{"date-parts":[[2020,11,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1036923","published":{"date-parts":[[2020,11,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:15Z","timestamp":1727238675609},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2015,3,24]]},"abstract":"The idea of creating a video work exploring the question of how an industrial robotic arm would see a handmade product is used as a pretext to generate a meeting point for different local agents in the framework of the production of an art project titled 'Rodar y Rodear' ('To Shoot and to Surround') (2013). \n\nThe heirs of a post-civil war motorbike manufacturer (MYMSA) and the Barcelona Fab-Lab found it interesting to take part in the production of this artistic project, which is a film event built on the idea of dislocation in the common uses of its leading actors: a motorbike restored as a museum piece and an industrial robotic arm programmed to produce the image of something that was fabricated with a pre-robotic sensitivity.\n\nThis exposition explores the connections that arise between production processes in commercial cinema and the automotive industry, and the capacity that artistic research has to create a singular and significant space for mutual exploration.<\/jats:p>","DOI":"10.22501\/jar.57290","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T18:38:35Z","timestamp":1492454315000},"source":"Crossref","is-referenced-by-count":0,"title":["One Motorbike, One Arm, Two Cameras"],"prefix":"10.22501","author":[{"family":"Ainara Elgoibar","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:40Z","timestamp":1727193220000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/57290\/133339"}},"issued":{"date-parts":[[2015,3,24]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/jar.57290","published":{"date-parts":[[2015,3,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:15Z","timestamp":1727238675950},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A Performance with an Ocean View (and a Dog\/for a Dog) \u2013 II Memo of Time is a pair of performances where the basis of the presentation is weather, time, potentiality and non-human co-actors. A Performance with an Ocean View (and a Dog) was performed on the ancient shore of the post-ice-age Yoldia Sea in the northern suburbs of Helsinki. A Performance with an Ocean View (for a Dog) took place on a potential future seashore on the roof top of a city centre department store. It was created and performed for a dog as its main spectator, though human spectators were present part of the time. The performances moved in the space between live art, environmental art and conceptual art. They were performed in May and August 2008 in Helsinki in Finnish and in English as part of the program of Kiasma Theatre \/ Museum of Contemporary Art and Baltic Circle Festival. Memos of Time is a performance series, which forms a central part of my artistic research at the Theatre Academy, Helsinki: \u2018The potential nature of performance. The relationship to the non-human in the performance event from the perspective of duration and potentiality\u2019. \n\nThe underlying question in my research as well as in the exposition for JAR, is the role of art and artistic research in an age of ecological crisis. What does it mean if we begin to perceive nature, its beings and phenomena, as agents or actors - and how will that perspective possibly change our understanding of the human, of performance and the question of duration. These issues were explored through the practice of working with non-human agents - as co-actors and as spectators - and with non-human durations and rhythms. The questions were\/are examined in a dialogue with Bruno Latour\u2019s notion of non-human actors, Giorgio Agamben\u2019s notion of (im)potentiality and with animal studies.<\/jats:p>","DOI":"10.22501\/jar.7736","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T22:37:16Z","timestamp":1497998236000},"source":"Crossref","is-referenced-by-count":1,"title":["A Performance with an Ocean View (and a Dog\/for a Dog) - II Memo of Time"],"prefix":"10.22501","author":[{"family":"Tuija Kokkonen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:43Z","timestamp":1727193283000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/7736\/7856"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.7736","published":{"date-parts":[[2011,11,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:18Z","timestamp":1727238678851},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Anne-Linde Visser\n\nMain Subject: Baroque Cello\n\nResearch Supervisor: Johannes Boer\n\nTitle of Research: Seventeenth century (Italian) cello playing, focusing mainly on bow technique\n\nResearch Question: \n\nHow can we regain seventeenth century bow-technique for cello repertoire? \n\nSummary of Results: \n\nMy aim for this research was to find out more about 17th century cello playing, with the focus on bow technique. The first cello treatise was not written until 1741 (Corette) and therefore most cellists will play this repertoire with a late 18th century (bow) technique. Repertoire which is written especially for the violoncello starts in the late 17th century, but a lot of this repertoire was still composed in the old style. \nIn short, my research contains the following elements: the bow, the bow-hold, bow-technique and other sources on articulation. The sources used include mainly treatises and iconography (taking into account that not all iconography is appropriate). \nIconography shows us that there are a lot of possibilities to play the cello. In terms of bow hold, underhand bow hold is seen the most, but also overhand bow hold can be seen towards the end of the 17th century. The treatises by Sylvestre Ganassi, Riccardo Rognioni and Francesco Frognoni, were my main sources for bow-technique. Ganassi (16th century) already gives some very important \u2018rules\u2019 on string-playing that are still applicable today. Written in even greater detail concerning articulation, are the treatises for wind instruments. \nIn my opinion, those treatises are not only valuable for 17th century repertoire, but could be also a source of inspiration for any other repertoire. \n\nBiography:\n\nAnne-Linde Visser (The Netherlands, 1992) studies baroque cello with Lucia Swarts. Last year she studied with Jonathan Manson at the Royal Academy of Music in London (Erasmus Exchange). Anne-Linde is \u2018Young Bach Fellow\u2019 of the Nederlandse Bachvereniging and member of the Theresia Youth Baroque Orchestra (Italy). Besides that, she regularly performs with the Laurenscantorij, Ars Musica and the Dutch Baroque Orchestra. With the Castello Consort she was recently accepted to take part in the Eeemerging-programme. She especially enjoys playing basso continuo, which has been described as \u2018excellent\u2019 (Early Music Reviews) and \u2018impressive: unobtrusive yet decisive\u2019 (Opera Today).<\/jats:p>","DOI":"10.22501\/koncon.345237","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:44:45Z","timestamp":1725921885000},"source":"Crossref","is-referenced-by-count":0,"title":["Seventeenth-century cello playing, focussing mainly on bow technique"],"prefix":"10.22501","author":[{"family":"Anne-Linde Visser","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:39Z","timestamp":1727193459000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/345237\/345238"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.345237","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:20Z","timestamp":1727238680071},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,14]]},"abstract":"Name: Agnieszka Papierska\nMain subject: Baroque violin\nTitle of research: Holding the violin and how it influences sound and playing in historical performance practice. Historical perspectives.\nResearch coach: Margaret Urquhart\n\nResearch questions: How much would the sound of the violin change with holding it in different position? Could this be a tool of expression? Does the way we hold the instrument influence other choices we make about performance practice e.g. regarding fingering, bowing? Could this knowledge be used in performance practice today?\n\nSummary of results: \nDuring the baroque and classical period many different ways of holding the violin existed, often at the same time. This paper investigates the way in which the different positions of holding the instrument could change the sound of it. After studying at sources and making experiments with different posture it can be confirmed that that the sound changes with different ways of holding the violin. The technique and interpretation are also affected. The main conclusion is that violin technique is not unchangeable. We can adjust it in order to develop sound that we desire.\n\nBiography:\nAgnieszka is an accomplished and experienced chamber music and orchestral musician. She started her professional career at a very early age. While still a student in Poland she collaborated with many professional orchestras where she worked with world-class conductors and soloists.\nAfter completing her Bachelor's diploma in modern violin an interest in historical performance practice let to her move to the Netherlands in order to study in the early music department of The Hague Royal Conservatory. In 2012 she also completed the master studies in Wroclaw Academy of Music in Poland. \nCurrently she works with Theresia Youth Baroque Orchestra in Italy and also performs with other groups in the Netherlands and abroad.\nShe plays an anonymous 18th century violin from the Klingenthal region.<\/jats:p>","DOI":"10.22501\/koncon.106476","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:47:46Z","timestamp":1725922066000},"source":"Crossref","is-referenced-by-count":0,"title":["Holding the violin and how it influences sound and playing in historical performance practice. Historical perspectives."],"prefix":"10.22501","author":[{"family":"Agnieszka Papierska","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:17Z","timestamp":1727193497000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/106476\/106477"}},"issued":{"date-parts":[[2016,6,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.106476","published":{"date-parts":[[2016,6,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:28Z","timestamp":1727238628521},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,12,10]]},"abstract":"'Systems of Pain\/Networks of Resilience' is a creative exploration of observation and entanglement as tools for negotiating pain. Research on ecology, restoration, and psychology creates a series of videos, images, and performances. How do personal networks of resilience overcome systems of pain, both in human perspectives, and in ecologies? The project explores commonalities in the context of divisive cultural politics.\n\nArtist Meghan Moe Beitiks begins her research with personal interviews. She discusses processes of recovery with people with both personal and professional experiences of trauma and recovery, including an ecological restoration specialist, an animal behaviourist, several survivors of abusive relationships, and many others. Clips from the interviews become the basis for visual and material explorations, generating videos, installations, and images. Stigma and prejudice emerge as barriers to healing \u2013 acceptance, observation, and listening, as common tools to accelerate it.\n\nThis compilation takes components of Beitiks\u2019s research and arranges them within their own system of exploration. Observers\u2019 perceptions of the work are both assisted and disrupted by audio descriptions. Originally intended to make the works accessible to non-sighted audiences, the descriptions also serve as an exploration of observation and objectivity. A seemingly unrelated pine wallpaper appears to have been unfairly categorised as \u201cmasculine,\u201d prompting further questions about categorisation and labelling, as well as depictions of nature. Beitiks\u2019s presence and movement in the work is described as androgynous, their body taking on the narratives described in the interview clips. Boundaries between various disciplines and narratives disappear\u2014we instead experience the labour of connecting disparate entities, despite the limits of our own perceptions.<\/jats:p>","DOI":"10.22501\/jar.286506","type":"journal-article","created":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T22:26:39Z","timestamp":1512944799000},"source":"Crossref","is-referenced-by-count":0,"title":["Systems of Pain\/Networks of Resilience (First Compilation)"],"prefix":"10.22501","author":[{"family":"Meghan Moe Beitiks","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:01Z","timestamp":1727193181000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/286506\/286507"}},"issued":{"date-parts":[[2017,12,10]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jar.286506","published":{"date-parts":[[2017,12,10]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:28Z","timestamp":1727238628635},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2014,5,26]]},"abstract":"This exposition considers movement intervention in architectural spaces as a form of artistic practice and potential research methodology. Examples of movement intervention within architecture in contemporary artworks are examined, helping to describe the parameters of this technique. Phenomenological aspects of these artworks, such as kinaesthetic empathy and the ubiquitous and physical context of architecture, are discussed. These can distance the viewer from an automatic understanding of the relationship between body and building, and introduce the potential for meaning beyond familiar ways of addressing architecture, such as through writing.\n\nThe exposition centres on two on-site movement interventions by the author at post-war British buildings, St Peter\u2019s Seminary, designed by Gillespie, Kidd and Coia, and the tower housing blocks Bevin Court and the Sivill House, designed by Berthold Lubetkin, and examines how the works relate to these contexts as a space both of creation and of reception. These movement interventions address the similar cultural circumstances of these sites as well as their dissimilar current status. The exposition concludes with an assessment of the validity of the kinetic human body as a research tool and the capacity for artworks resulting from movement intervention to engage the viewer and contribute to existing architectural discourse.<\/jats:p>","DOI":"10.22501\/jar.27285","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T18:09:49Z","timestamp":1492452589000},"source":"Crossref","is-referenced-by-count":0,"title":["Movement Intervention within British Post-War Architecture"],"prefix":"10.22501","author":[{"family":"Jaimie Henthorn","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:50Z","timestamp":1727193230000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/27285\/27286"}},"issued":{"date-parts":[[2014,5,26]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/jar.27285","published":{"date-parts":[[2014,5,26]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:59Z","timestamp":1733202779041,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2024,3,23]]},"abstract":"This paper reflects on the relation between \u201cfield\u201d and \u201crecording\u201d in listening to \u201cfield recordings.\u201d It is rooted in the author\u2019s experience as a student and, subsequently, a researcher in the anthropology of music. The paper strives to map the gap between academic and artistic conceptions of field recording by asking whether and how field recordings can be failed. The author\u2019s own experience with the genre is indeed one of frequent disenchantment. The paper identifies different meanings of field, discusses how recordings are supposed to make those fields available to the listener, and asks whether in field recording \u201cmusic\u201d and \u201csoundscapes\u201d should be treated as different kinds of objects.<\/jats:p>","DOI":"10.22501\/jss.2623369","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:24:43Z","timestamp":1733149483000},"source":"Crossref","is-referenced-by-count":0,"title":["How to Fail a Field Recording. An Ethnomusicologist\u2019s Perspective"],"prefix":"10.22501","author":[{"family":"Victor A. Stoichita","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:24:43Z","timestamp":1733149483000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2623369\/2623370"}},"issued":{"date-parts":[[2024,3,23]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jss.2623369","published":{"date-parts":[[2024,3,23]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:00Z","timestamp":1733202780102,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,10,10]]},"abstract":"Sonic Information Design refers to the design of sounds to provide useful information in applications that have impact in our daily lives. The articles in this special issue of the Journal of Sound Studies on Sonic Information Design had their origins as responses to the theme of the 22nd International Conference for Auditory Display, held in Canberra, Australia in 2016.<\/jats:p>","DOI":"10.22501\/jss.514655","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:53Z","timestamp":1733149553000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial: On Sonic Information Design"],"prefix":"10.22501","author":[{"family":"Stephen Barrass","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:54Z","timestamp":1733149554000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/514655\/514656"}},"issued":{"date-parts":[[2018,10,10]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/jss.514655","published":{"date-parts":[[2018,10,10]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:09Z","timestamp":1733202789384,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2023,3,6]]},"abstract":"The writing that follows (interspersed between other articles) is a series of personal reflections on \u201clistening\u201d \u2013 a term which, for me, refers to an embodied attentive state, including but not limited to the ears. I write from my own experiences as a trans non-binary person of colour and reflect specifically on the ways in which listening work relates to anti-racist and anti-colonial work. Within the writing, certain words are hyperlinks. These are offered as moments of dialogue \u2013 moments where you are invited, if you wish, to read other texts that are in relationship with the particular word, phrase, or idea that is linked. At the end of the section titled \u201c4. Portals,\u201d there is a short list of links to artists and authors who are directly mentioned in the text as well as a list of further references in case they are of interest.<\/jats:p>","DOI":"10.22501\/jss.1912571","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:10Z","timestamp":1733149510000},"source":"Crossref","is-referenced-by-count":0,"title":["Collective listening as survival: how to be not okay together"],"prefix":"10.22501","author":[{"family":"Rajni Shah","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:10Z","timestamp":1733149510000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1912571\/1912570"}},"issued":{"date-parts":[[2023,3,6]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jss.1912571","published":{"date-parts":[[2023,3,6]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:09Z","timestamp":1733202789713,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"09","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,5,7]]},"abstract":"As writer and director, Rik Lander\u2019s aim with The Memory Dealer was to create a dramatic experience where audience members felt they had really become part of another world and another set of lives. The story was told through multiple media: an app that delivered narration and musical score via headphones, interactive installations, diegetic audio, prop flyers and newspapers, and encounters with actors. Rather than simply view the unfolding story, audience members were immersed in it and expected to become actor and author. Lander offers an insider\u2019s, auto-ethnographic perspective on the realization of this pervasive drama. He uses audience feedback to explore whether he succeeded in making this change to their role without arousing their self-consciousness. He also examines whether plot and characters could be as complex as in a movie or conventional play and which of the multiple forms of engagement served to immerse and which to alienate the audience?<\/jats:p>","DOI":"10.22501\/jss.147587","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:33Z","timestamp":1733149653000},"source":"Crossref","is-referenced-by-count":0,"title":["Experiments in Intimacy and Immersion"],"prefix":"10.22501","author":[{"family":"Rik Lander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:33Z","timestamp":1733149653000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/147587\/147608"}},"issued":{"date-parts":[[2015,5,7]]},"references-count":0,"journal-issue":{"issue":"09"},"URL":"https:\/\/doi.org\/10.22501\/jss.147587","published":{"date-parts":[[2015,5,7]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:13Z","timestamp":1733202793052,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,10,10]]},"abstract":"In this paper we discuss the possibility for designing sonification as a tool for public engagement for socially relevant data. We do so through a case study of a specific sonification model and the results of a participatory focus group discussing ours and similar sonifications of \u201csocial\u201d data. First we report on a unique and contextually-sensitive approach to sonification of a subset of climate data: urban air pollution for four Canadian cities. Similarly to other data-driven models for sonification and auditory display, this model details an approach to data parameter mappings, however we specifically consider the context of a public engagement initiative and reception by an \u201ceveryday\u201d listener as a core principle informing our design. Further, we present an innovative model for FM index-driven sonification that rests on the notion of \u201charmonic identities\u201d for each air pollution data parameter sonified, allowing us to sonify more datasets in a perceptually \u201ceconomic\u201d way. Finally, we discuss usability and design implications for sonifying socially relevant information based on user evaluation of our design and an open-ended discussion from two small-scale participatory focus groups.<\/jats:p>","DOI":"10.22501\/jss.511242","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:19Z","timestamp":1733149579000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonifying for Public Engagement: A Context-Based Model for Socially Relevant Data"],"prefix":"10.22501","author":[{"family":"Milena Droumeva","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:19Z","timestamp":1733149579000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/511242\/511243"}},"issued":{"date-parts":[[2018,10,10]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/jss.511242","published":{"date-parts":[[2018,10,10]]}},{"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T10:15:39Z","timestamp":1648808139591},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"published-print":{"date-parts":[[2016]]},"DOI":"10.22501\/254758","type":"journal-article","created":{"date-parts":[[2017,2,28]],"date-time":"2017-02-28T10:46:02Z","timestamp":1488278762000},"source":"Crossref","is-referenced-by-count":0,"title":["ANCHORAGE: a phenomenology of outline"],"prefix":"10.22501","author":[{"given":"Joe","family":"Graham","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Steven","family":"Dickie","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Chantal","family":"Faust","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2016]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2017,2,28]],"date-time":"2017-02-28T10:46:10Z","timestamp":1488278770000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/254758\/254759"}},"issued":{"date-parts":[[2016]]},"references-count":0,"journal-issue":{"issue":"12","published-online":{"date-parts":[[2016]]},"published-print":{"date-parts":[[2016]]}},"URL":"https:\/\/doi.org\/10.22501\/254758","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2016]]}},{"indexed":{"date-parts":[[2024,12,9]],"date-time":"2024-12-09T21:10:11Z","timestamp":1733778611438,"version":"3.30.1"},"posted":{"date-parts":[[2024,12,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition presents the PhD Artistic Research project environment embodiment - towards poetic narratives by Fernanda Branco at the Oslo National Academy of the Arts (2020-2024). \n\nThis artistic research explores experiential agency in encounters between body and environment. It draws from uncanny, embodied, and poetic perspectives and unfolds as a constellation of sympoietic practices.\n\nPhD Supervisors:\nRebecca Hilton - Stockholm University of the Arts (2021-2024)\nGunhild Mathea Olaussen - KHiO (2021-2022)\nDora Garcia - KHiO (2023-2024)\n\n\nFernanda Branco has designed this exposition in collaboration with web designer Ellen Palmeira.\n\nIllustrations by Aza\nDrawings by Francisco Blixt \nCards and booklets designed by Amanda Costa<\/jats:p>","DOI":"10.22501\/rc.2785084","type":"posted-content","created":{"date-parts":[[2024,6,24]],"date-time":"2024-06-24T21:58:55Z","timestamp":1719266335000},"source":"Crossref","is-referenced-by-count":0,"title":["environment embodiment - towards poetic narratives"],"prefix":"10.22501","author":[{"family":"Fernanda Branco","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,9]],"date-time":"2024-12-09T20:29:08Z","timestamp":1733776148000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2785084\/2904999"}},"issued":{"date-parts":[[2024,12,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2785084","published":{"date-parts":[[2024,12,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,13]],"date-time":"2024-12-13T05:31:17Z","timestamp":1734067877020,"version":"3.30.2"},"posted":{"date-parts":[[2024,12,12]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"Heaven on Earth: Revelation of the 10th Avatar\" makes connections between ancient myths and Earth's topography that correspond to Hinduism's ten incarnations of Vishnu, resulting in visual evidence of the prophesied return of Kalki to usher in the Golden Age of Satya Yuga.<\/jats:p>","DOI":"10.22501\/rc.3017554","type":"posted-content","created":{"date-parts":[[2024,12,12]],"date-time":"2024-12-12T21:14:30Z","timestamp":1734038070000},"source":"Crossref","is-referenced-by-count":0,"title":["Heaven on Earth: Revelation of the 10th Avatar"],"prefix":"10.22501","author":[{"family":"Bradly Couch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,12]],"date-time":"2024-12-12T21:14:31Z","timestamp":1734038071000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3017554\/3017555"}},"issued":{"date-parts":[[2024,12,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3017554","published":{"date-parts":[[2024,12,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:03Z","timestamp":1727238663525},"posted":{"date-parts":[[2023,10,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research project arose from encounters with wild more than human beings in city spaces close to where I live. The encounters themselves were very rich, complex and flowing over with meanings and feelings that I couldn\u2019t quite grasp in the moment of their happening. As a practitioner-researcher, I therefore chose to explore these feelings and meanings through creative practice, while also engaging in academic research to position these encounters in discourses, both directly relevant and those that resonate with the ideas and feelings arising. I characterise this as a project that aligns with and is productively informed by multispecies studies and practices. In its mixing of encounters with wild nature through primarily digital images and sounds, the practice activates an \u2018ecology of technology\u2019<\/jats:p>","DOI":"10.22501\/rc.2089210","type":"posted-content","created":{"date-parts":[[2023,10,4]],"date-time":"2023-10-04T10:38:22Z","timestamp":1696415902000},"source":"Crossref","is-referenced-by-count":0,"title":["Urban Wild_Life: Exploring affective relationships with wild urban nature through creative digital practices"],"prefix":"10.22501","author":[{"family":"Joanne Scott","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:15Z","timestamp":1727192535000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2089210\/2089211"}},"issued":{"date-parts":[[2023,10,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2089210","published":{"date-parts":[[2023,10,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667481},"posted":{"date-parts":[[2021,12,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Archivo Ricardo Mart\u00ednez Puerto expuesto de manera horizontal<\/jats:p>","DOI":"10.22501\/rc.1441952","type":"posted-content","created":{"date-parts":[[2021,12,4]],"date-time":"2021-12-04T02:28:27Z","timestamp":1638584907000},"source":"Crossref","is-referenced-by-count":0,"title":["Taller 2 -Mirada Instrumentada"],"prefix":"10.22501","author":[{"family":"Ricardo Martinez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:09Z","timestamp":1727192709000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1441952\/1441953"}},"issued":{"date-parts":[[2021,12,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1441952","published":{"date-parts":[[2021,12,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667838},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time. \n\nWhen people were locked in, new solidarities and friendships emerged that allowed society to stay afloat and people to hold each other. This elaborates on the COVID pandemic, and the experience around family friends, and other relationships.<\/jats:p>","DOI":"10.22501\/rc.1263936","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T11:39:39Z","timestamp":1622633979000},"source":"Crossref","is-referenced-by-count":0,"title":["Intergenerational, Interspecies, Familial Networks and Friendships"],"prefix":"10.22501","author":[{"family":"Vastavikta","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:45Z","timestamp":1727192805000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1263936\/1263937"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1263936","published":{"date-parts":[[2021,6,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670788},"posted":{"date-parts":[[2019,1,15]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"observations on two types of research conducted and where to draw the line between them<\/jats:p>","DOI":"10.22501\/rc.524242","type":"posted-content","created":{"date-parts":[[2019,1,14]],"date-time":"2019-01-14T23:54:18Z","timestamp":1547510058000},"source":"Crossref","is-referenced-by-count":0,"title":["URBAN FOREST: a 360 movie experience"],"prefix":"10.22501","author":[{"family":"Maja Maletkovic","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:12Z","timestamp":1727192952000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/524242\/524243"}},"issued":{"date-parts":[[2019,1,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.524242","published":{"date-parts":[[2019,1,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670790},"posted":{"date-parts":[[2019,10,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This Ph.D. project in artistic research is concerned with the function of gesture in traditional Vietnamese music. Building on gender analysis of musical performance in TV shows, and further on autoethnographic inquiry throughout the artistic projects, the artistic output articulates a critical understanding of these practices. The aims of the project are to investigate the social function and meaning of musical gesture in traditional Vietnamese music, and to develop artistic responses that articulate an individual voice. The research questions that emerge from these conceptual and artistic aims are:\n1. What gender conventions can gesture analysis of musical performance unveil?\n2. In what ways can music created through the choreographic structuring of movement reveal\nand question gender conventions in musical performance?\n3. How can my performance, in intercultural and interdisciplinary artistic collaborations,\nchallenge current gender norms and instigate change in practices of traditional Vietnamese music?\nThe method and design of this Ph.D. project builds on qualitative analysis of gesture in musical performance, with particular emphasis on employing a gender perspective in this analysis. In the artistic work, analysis of gesture has constituted a point of departure for the creation of a series of intermedia works that seek to develop methods that combine the practices of choreography and musical composition. Intercultural collaboration has provided particular challenges and possibilities in the development of each of these works. The results of the artistic work are published online in The Research Catalogue.\nThe outcomes of the project outline how gendered gesture is taught in higher music education in Vietnam, and taken together with the historical overview of how nationalism and communism has shaped the country, that this teaching has an immediate relation to nation branding. The teaching of traditional music is equally related to the commercialised views of women as it is grounded in the preservation of tradition. Further, the development of a practice of composing music using gestural-sonorous objects as material became the central artistic method throughout this Ph.D. project. It has offered novel possibilities of approaching gestural materials and creating new choreographies and music based on a critical approach to the image of women in popular media. The results finally suggest that intercultural and inter-disciplinary artistic practice can propose social change, and provide counter images of traditionally gendered behaviour.<\/jats:p>","DOI":"10.22501\/rc.55919","type":"posted-content","created":{"date-parts":[[2019,10,22]],"date-time":"2019-10-22T05:07:32Z","timestamp":1571720852000},"source":"Crossref","is-referenced-by-count":0,"title":["The Choreography of Gender in Traditional Vietnamese Music"],"prefix":"10.22501","author":[{"family":"Nguyen Thanh Thuy","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:01Z","timestamp":1727192941000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/55919\/477368"}},"issued":{"date-parts":[[2019,10,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.55919","published":{"date-parts":[[2019,10,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671384},"reference-count":0,"publisher":"Society for Artistic Research","issue":"30","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,10,24]]},"abstract":"The project aims to pay heightened attention to public spaces in cities on several levels. The first follows the trend of newly developed privately owned public spaces (known as POPS), which establish a precedent for how corporations and cities define public space and what they prioritize within it. A clear focus on people as consumers \u2013 rather than citizens \u2013 have several effects, including strict restrictions, the creation of societies of control (Deleuze 1992: 3), and various forms of often indirect exclusion of certain groups of inhabitants. \n\nThe second level attempts to accentuate subjective experiences focused on our bodies and making them consciously present in relation to public space. Both layers are a significant component of the performative lecture walks, on the basis of which I introduce the results of interactions with the respondents in my case studies. Finally, I shall describe what cities looked like during the pandemic and consider whether these scenes might be a model for the future. Are we to expect further experiences of empty cities?<\/jats:p>","DOI":"10.22501\/jar.1401080","type":"journal-article","created":{"date-parts":[[2023,10,24]],"date-time":"2023-10-24T13:56:02Z","timestamp":1698155762000},"source":"Crossref","is-referenced-by-count":0,"title":["We Are Public Space: Bodies and Minds in Post-pandemic Cities"],"prefix":"10.22501","author":[{"family":"Marketa Kinterova","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:26Z","timestamp":1727193086000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1401080\/1401081"}},"issued":{"date-parts":[[2023,10,24]]},"references-count":0,"journal-issue":{"issue":"30"},"URL":"https:\/\/doi.org\/10.22501\/jar.1401080","published":{"date-parts":[[2023,10,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:12Z","timestamp":1727238672048},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,7,16]]},"abstract":"Artistic creativity is critically and painstakingly intertwined with ecological creativity in Indian aesthetics. The underlying principles of form, grammar and structure are carefully considered applications and expansions of ecological principles. But what lies at the heart of a consciousness that can enact, embody and expand this creativity principle? I argue that the consciousness principle is 'porosity', an ability to transcend self to enter a state of being where life can move through as a seamless exchange of energy in consecrated time and space. This exposition draws insights from practice based research and unravels the practitioner\u2019s point of view into subjective, qualitative research using text, image and movement. The philosophical and aesthetic underpinnings are drawn from Hindu Indian aesthetics, philosophy and ancient notions of ecology.<\/jats:p>","DOI":"10.22501\/jar.614184","type":"journal-article","created":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T15:47:30Z","timestamp":1594914450000},"source":"Crossref","is-referenced-by-count":0,"title":["A Porous Consciousness in and as Artistic Practice: Re-engaging with classical Indian philosophy and aesthetics as a living tradition"],"prefix":"10.22501","author":[{"family":"Srisrividhiya Kalyanasundaram","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:12Z","timestamp":1727193132000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/614184\/614185\/10\/10"}},"issued":{"date-parts":[[2020,7,16]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jar.614184","published":{"date-parts":[[2020,7,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:21Z","timestamp":1727238681768},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,3,8]]},"abstract":"Falling Like a Monster is a collaborative and creative practice of writing and embodying inter-textuality and multi-modality in order to experiment a non-representational archive known as a two-sided article. This heterogenous crafted piece of writing resists the hegemony of academic and artistic narratives and suggests a transformative knowledge and an alternative practice of political freedom. In our writing, crafting, recording, and failing, we are playing with exhaustion, silence and stillness as monstrous counter-strategies.<\/jats:p>","DOI":"10.22501\/ruu.889932","type":"journal-article","created":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T13:56:11Z","timestamp":1615211771000},"source":"Crossref","is-referenced-by-count":0,"title":["falling like a monster"],"prefix":"10.22501","author":[{"family":"Susanna Hast","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Maryam Bagheri Nesami","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:55Z","timestamp":1727193595000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/889932\/889933"}},"issued":{"date-parts":[[2021,3,8]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/ruu.889932","published":{"date-parts":[[2021,3,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:31Z","timestamp":1727238691459},"posted":{"date-parts":[[2023,6,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This paper examines the possible impacts of artificial intelligence (AI) on the ever-changing role of graphic designers. As its main contribution, the paper proposes a model based on the intertwining concepts of deduction, induction, and abduction. It argues that deductive and inductive tasks in graphic design can be effectively and advantageously outsourced to AI, while abductive tasks are still best performed by human graphic designers. Additionally, the power balance between humans and AI is discussed, concluding that human graphic designers must play a pivotal role in initiating and critically evaluating the results of any collaboration with AI tools. The model introduces the metaphorical notion of a \"disciplinary expertise filter,\" which serves as a professional quality assurance for AI-based automation and augmentation in the design process. The distinction between \"black box\" and \"clear box\" AI systems is briefly discussed to provide a more nuanced understanding of AI as being \"a magic tool\" for graphic designers. Lastly, the paper presents six perspectives derived from the model, aiming to foster informed discussions and encourage critical reflections among graphic designers regarding their future role in the era of AI.<\/jats:p>","DOI":"10.22501\/hub.2156238","type":"posted-content","created":{"date-parts":[[2023,6,21]],"date-time":"2023-06-21T14:48:09Z","timestamp":1687358889000},"source":"Crossref","is-referenced-by-count":0,"title":["A Model for Understanding the Evolving Role of Graphic Designers in the Era of Artificial Intelligence"],"prefix":"10.22501","author":[{"family":"Stig M\u00f8ller Hansen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:27Z","timestamp":1727194167000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2156238\/2156237"}},"issued":{"date-parts":[[2023,6,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/hub.2156238","published":{"date-parts":[[2023,6,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:36Z","timestamp":1727238636879},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,4,16]]},"abstract":"The exposition presents a performer's perspective in studying Frescobaldi's toccatas. The concept of \"desire\" is applied to describe both the performer\u2019s process and the internal structures of music: as a philosophical concept, desire describes a musician\u2019s transcendental and procedural act of turning the written music into sounding music; as a musical concept in the context of early tonal music, it describes tensions, expectations and various ways to arrive to a release. \n\nThe reflection of a musician\u2019s process is supplemented by readings of research related to toccatas and Frescobaldi, and theoretical writings of the time such as Galilei, Zarlino, Descartes and of course, Frescobaldi himself. Associative verbalization is developed as a tool to aid the musician\u2019s desiring process of leaping from notes to performance. \n\nThe exposition is built around a brief central text acting as a frame, from which links on coloured words lead to further explorations. Some of them are lengthier, some shorter, touching the subject from different angles, sometimes erring to tangential thoughts. Together they form an essential part of the exposition and contain references to other research. The reader can either read the central text first and then come back to the links, or jump to the chapters as they appear. The exposition seeks to be enjoyable but somewhat wandering \u2013 it can be seen as a sort of a toccata itself.<\/jats:p>","DOI":"10.22501\/ruu.614125","type":"journal-article","created":{"date-parts":[[2020,4,16]],"date-time":"2020-04-16T11:40:31Z","timestamp":1587037231000},"source":"Crossref","is-referenced-by-count":0,"title":["...CHE SONANDO APPARISCONO \u2013 desire for sounding meanings through a musician's practice"],"prefix":"10.22501","author":[{"family":"Marianna Henriksson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:05Z","timestamp":1727193665000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/614125\/614126"}},"issued":{"date-parts":[[2020,4,16]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/ruu.614125","published":{"date-parts":[[2020,4,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:47Z","timestamp":1727238647400},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2021,9,28]]},"abstract":"Open form is a designation on a type of composition that is in some degree open. It is also a term in relation to understanding a genre. This means that I do not include for example Bach\u00b4s Die Kunst der Fuge (circa 1740), but Stockhausen\u00b4s Aus den sieben Tagen (1968) could be included. This project, however, is centered around the composers from The New York Scool, and composers related to The New York School: Christian Wolff, Pauline Oliveros, John Cage, Earle Brown, Morton Feldman and Cornelius Cardew.\nAn Open form composition is graphic, text- or number-based. It may also be a combination of these three notational techniques and\/or in combination with conventional staff line-notation.<\/jats:p>","DOI":"10.22501\/kmd-ar.147680","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T13:18:57Z","timestamp":1684761537000},"source":"Crossref","is-referenced-by-count":0,"title":["Open Form. An Expanded Performer\u00b4s Role."],"prefix":"10.22501","author":[{"family":"Else Olsen Storesund","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:07:45Z","timestamp":1727194065000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/147680\/147681"}},"issued":{"date-parts":[[2021,9,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.147680","published":{"date-parts":[[2021,9,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:58Z","timestamp":1727238658752},"posted":{"date-parts":[[2024,7,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This Artistic Research in and through cinema explores the possibilities of using outdated melodramatic elements of cinematic representation in a new way, dissolving the intersection between the personal and the fictional as a tool for creating a redemptive act of filmmaking. \"Super (im) positions: Subverting melodramatic representation through personal unpredictability\" delves into the transformative potential of these elements within cinematic representation. By dissolving the boundaries between the personal and the fictional, this work engages in a redemptive act of filmmaking that reimagines melodrama. The approach employs a contemporary, polyphonic, and playful film language to propose a new form of melodrama\u2014one that acknowledges its inherent perversity to challenge and deconstruct its toxic narratives.\n\nRooted in the pervasive influence of telenovelas and melodrama, particularly within Mexican culture, this exploration questions and critiques the genre's impact on cultural and individual perceptions of love and relationships. The research was catalysed by a significant personal and professional rupture, leading to a critical examination of the genre's conventions.\n\nBy employing a contemporary, polyphonic, and playful film language, Santoyo reimagines melodrama as a genre capable of portraying complex, personal emotions and generating critical, boundary-pushing narratives. This self-reflective genre deviation, temporarily termed the \"New Melodrama,\" seeks to subvert traditional melodramatic tropes by acknowledging and confronting their perverse nature. Through this approach, Santoyo aims to dismantle the toxic knowledge perpetuated by conventional melodrama, offering a sophisticated and nuanced critique from within the genre itself. His work presents a trojan horse strategy, using the familiar systems of melodramatic representation to question and ultimately transform them, proposing a relevant and self-aware cinematic experience.\n\nThrough innovative use of superimpositions and a deliberate deconstruction of melodramatic mise-en-sc\u00e8ne, this study aims to create a critical and self-reflective genre deviation termed \"New Melodrama.\" This method seeks to subvert traditional cinematic conventions by integrating multiple perspectives and temporalities, fostering a richer, more complex narrative experience. Ultimately, the research stands as a trojan horse within the film industry, using the very mechanics of melodrama to critique and reinvent it, offering a fresh, introspective take on a genre often dismissed as superficial.<\/jats:p>","DOI":"10.22501\/rc.2945107","type":"posted-content","created":{"date-parts":[[2024,7,22]],"date-time":"2024-07-22T12:01:40Z","timestamp":1721649700000},"source":"Crossref","is-referenced-by-count":0,"title":["SUPER(IM)POSITIONS: Subverting Melodramatic Representation Through Personal Unpredictability"],"prefix":"10.22501","author":[{"family":"Emilio Santoyo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:40:52Z","timestamp":1727192452000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2945107\/2945106"}},"issued":{"date-parts":[[2024,7,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2945107","published":{"date-parts":[[2024,7,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:03Z","timestamp":1727238723174},"posted":{"date-parts":[[2021,3,30]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is the seventh appendix to my doctoral thesis: Material Words for Voicing Dancers. The thesis stems from practice-led research that has investigated the role of voicing (both linguistic and non-linguistic sound) in improvisatory dance-based performance practices. My research is rooted in the pedagogies of three independent practitioners \u2014 Ruth Zaporah (US), Julyen Hamilton (UK\/ES) and Billie Hanne (BE) \u2014 which took place intermittently between 2012 and 2017 in Spain, Belgium and the UK. Reference is made to pedagogical processes and Instant Composition performance practice, as well as the my own artistic performance experiments and outcomes, to draw out the figure of a voicing dancer. The analysis considers: 1) how a dancer might \u2018access\u2019 feeling for voicing, taking a somatically-oriented approach that also utilises my experience as a practitioner of the Feldenkrais Method; 2) how voicing can be \u2018arranged\u2019 in a compositional environment with objects; 3) how voicing is amplified for performance in an enlivened acoustic space drawing on theatre aurality. Working through these stages (\u2018accessing\u2019, \u2018arranging\u2019 and \u2018amplifying\u2019) aims to discern and differentiate the way voicing and dancing can be considered a potentially unified but situated act, as well as offer an analytical model for researching such practices. I argue that to describe such practice in terms of \u2018embodied voice\u2019 is limited and I use Tim Ingold\u2019s relational ontology, and particularly his notion of \u2018ensoundedness\u2019, as a foundation for expanding the terms of engagement. I suggest that \u2018voicing-and-listening\u2019 can more fully account for how voicing(s) are produced by dancers in a studio and performance environment. Reference is made to my own artistic performance experiments and outcomes that have attempted to extend the research. The performance documents that stem from this are housed in this digital appendix.<\/jats:p>","DOI":"10.22501\/rc.606646","type":"posted-content","created":{"date-parts":[[2021,3,30]],"date-time":"2021-03-30T11:25:36Z","timestamp":1617103536000},"source":"Crossref","is-referenced-by-count":0,"title":["Material Words for Voicing Dancers (Appendix VII)"],"prefix":"10.22501","author":[{"family":"Robert Vesty","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:59Z","timestamp":1727192819000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/606646\/606647"}},"issued":{"date-parts":[[2021,3,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.606646","published":{"date-parts":[[2021,3,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:05Z","timestamp":1727238725815},"posted":{"date-parts":[[2017,12,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The starting point for the project is a set of recordings by Norwegian folk-musicians of Norwegian folk-songs in the \u201cstev og sl\u00e5tte\u201d (stave and tune) tradition of Setesdal in Agder. This source material was presented to musicians around the world in various studio sessions. The musicians did immediate responses after listening to a song, connecting to the music and establishing a dialogue. The purpose of this article is to document and provide insight into some of the processes in this artistic research project. The album FERD was released on Grappa Records 17.09.17 and a 70 minute film documentary will be released in 2018.<\/jats:p>","DOI":"10.22501\/rc.355828","type":"posted-content","created":{"date-parts":[[2017,12,3]],"date-time":"2017-12-03T08:17:57Z","timestamp":1512289077000},"source":"Crossref","is-referenced-by-count":0,"title":["Cross cultural meetings: Traditional music from Setesdal and world musicians"],"prefix":"10.22501","author":[{"family":"Ingolv Haaland","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Jeremy Welsh","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Bj\u00f8rn Ole Rasch","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:30Z","timestamp":1727192970000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/355828\/355829"}},"issued":{"date-parts":[[2017,12,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.355828","published":{"date-parts":[[2017,12,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:05Z","timestamp":1727238725338},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nThe phenomenon of Danger wears many faces. With each set of different circumstances, it changes its guise and triggers new emotional responses in us. As we continue to live more, our experience of Danger gathers more meaning. \u2018Playing with Danger\u2019 is a portrait gallery of sorts, portraits of Danger, each portrait painted in a new light, from a different perspective.<\/jats:p>","DOI":"10.22501\/rc.1288568","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T11:52:32Z","timestamp":1622634752000},"source":"Crossref","is-referenced-by-count":0,"title":["The Phenomenon of Danger"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:39Z","timestamp":1727192799000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1288568\/1288569"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1288568","published":{"date-parts":[[2021,6,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:16Z","timestamp":1727238736953},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2014,5,26]]},"abstract":"The Invisible Inside the Visible was a personal quest turned art project to locate physical evidence of a century-old racetrack on the Cape John peninsula in the village of River John, Nova Scotia. \n\nThe journey to find the racetrack was marked by its double invisibility. Not only was it remembered without specificity in regard to location, it was also invisible to the observing eye because it was embedded into the landscape. \n\nThis exposition is a reflection on the nature of landscape as a marker of cultural geography, and on my ability as an artist to pull the past forward through performance. I see the performative gesture as a physical articulation akin to a vibration; it disrupts the stability of the narrative. This project adds to the discourse investigating maps, memory, rural community, oral history, depictions of landscape, performance as tool, and the potential for dialectical articulations of place and history.<\/jats:p>","DOI":"10.22501\/jar.31415","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T18:09:49Z","timestamp":1492452589000},"source":"Crossref","is-referenced-by-count":0,"title":["The Invisible Inside the Visible"],"prefix":"10.22501","author":[{"family":"Sheilah Wilson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:50Z","timestamp":1727193230000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/31415\/31458"}},"issued":{"date-parts":[[2014,5,26]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/jar.31415","published":{"date-parts":[[2014,5,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738116},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,6,14]]},"abstract":"The human sensory system is complex and enigmatic but yet, attractive. Why are we continuously applying expressional words from another sensory modality and understanding it without any suspicion? In classical music, usage of the term dolce (sweet) to specify particular musical tones is frequently applied despite the word initially used to express a character of specific taste, which seems unrelated to music. This curiosity affects the researcher to explores a specific sensorial phenomenon, a crossmodal correspondence.\n\nThe study's objectives are to comprehend and utilise the topic of crossmodal correspondences to design multisensory performance with an emphasis on sound-taste associations. This exposition contains scientific reviews on crossmodal correspondences, interviews with a neurologist, and personal experience at a fine dining restaurant; additionally, the related subject, synaesthesia. Lastly, a review on the process of creating a flavour musical piece for solo guitar in collaboration with a prominent Thai composer, Piyawat Louilarpprasert, has been elaborated.<\/jats:p>","DOI":"10.22501\/koncon.709466","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:40:00Z","timestamp":1725921600000},"source":"Crossref","is-referenced-by-count":0,"title":["Innovative Practice of Enhancing Musical Perceptions"],"prefix":"10.22501","author":[{"family":"Noppakorn Auesirinucroch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:38Z","timestamp":1727193398000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/709466\/1167347"}},"issued":{"date-parts":[[2021,6,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.709466","published":{"date-parts":[[2021,6,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738216},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,8,29]]},"abstract":"Name: Patrick van Deurzen\nMain subject: Theory of Music\nResearch coach: Marcel Cobussen\nTitle of research: Referential Networks, Composing and the \u201cOutside World\u201d\n\nResearch question:\nHow does a new composition relate to the existing body of (art)works: the \u201coutside world\u201d?\n\nSummary of results:\nOne aspect of composing is making countless connections, consciously and unconsciously, to other works. Of these countless connections, those created consciously form what I call a Referential Network. The works to which these connections are made, form the \u201cOutside World\u201d. In this research, I describe three of my compositions as three different Referential Networks. I analyse the compositions and show how the chosen references influence the compositional process and outcome. Performers (and listeners) also use references to access a composition. To understand this, I look at how we can understand a text and what the relation of author and observer is to a text. In relation to this, I have asked various performers for feedback to see to what extent my Referential Networks are noticed and if they play a role in interpreting them. To put my composing and this research in a historical context, I look at certain aspects of European composed art music after World War II to show two different views on tradition and the past. My concluding remarks include conclusions about the artistic result, i.e. the compositions, the performer's perspective, and some philosophical implications.\n\nBiography\nPatrick van Deurzen is a Dutch Composer and teaches Music Theory, Instrumentation and Arranging at the Royal Conservatoire of The Hague and the Rotterdam Conservatoire of Music.<\/jats:p>","DOI":"10.22501\/koncon.63288","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:47:28Z","timestamp":1725922048000},"source":"Crossref","is-referenced-by-count":0,"title":["Referential Networks, Composing and the \"Outside World\""],"prefix":"10.22501","author":[{"family":"Patrick van Deurzen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:13Z","timestamp":1727193493000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/63288\/153119"}},"issued":{"date-parts":[[2016,8,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.63288","published":{"date-parts":[[2016,8,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738475},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,7,14]]},"abstract":"Name: Margaret Urquhart\n\nMain Subject: Master of Music\n\nResearch Coach: Peter Holman\n\nTitle of Research: The Early Violone\n\nResearch Question: \nWhat were the earliest violones, how can they be defined and how were they used till 1700?\n\nSummary of Results:\nAfter looking at evidence of the emergence of the first low bowed string instruments in Europe, this paper follows the types and use of the main instruments which could be termed violones till 1700, mainly centered in Italy. Through the study of treatises referring to the violone, scores using the term, iconography, secondary sources and the reconstruction of a copy of a violone from 1590, it follows the development of the violone till it becomes an octave-doubling instrument. The presentation of the extended paper will include a closer look at the issues surrounding the history of, and the term, violone, and live performance of music demonstrating the early violone, together with two viola da gambas in a consort. \n\nBiography:\nMargaret Urquhart studied double bass and violone with Anthony Woodrow and viola da gamba with Anneke Pols at the Royal Conservatory in The Hague. She subsequently joined many notable Baroque ensembles. In 1986, she became a member of Frans Bruggen\u2019s Orchestra of the Eighteenth Century of which she is the first bassist. In addition to a busy performing schedule, she teaches at Amsterdam and The Hague conservatories, gives master classes internationally and coaches at the European Baroque Orchestra courses. She performs on the Viennese bass, the 8\u2019 violone in various tunings and the 16\u2019 violone and double bass.<\/jats:p>","DOI":"10.22501\/koncon.157885","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:48:15Z","timestamp":1725922095000},"source":"Crossref","is-referenced-by-count":0,"title":["The Early Violone"],"prefix":"10.22501","author":[{"family":"Maggie Urquhart","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:23Z","timestamp":1727193503000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/157885\/157886"}},"issued":{"date-parts":[[2015,7,14]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/koncon.157885","published":{"date-parts":[[2015,7,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:27Z","timestamp":1727238747905},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2020,12,22]]},"abstract":"This exposition reflects on several performances by the authors that aimed to re-imagine selected\npieces by Debussy in the centenary year of his death. More particularly, it considers some issues and\nimplications arising from performing the composer\u2019s music for piano(s) on modern digital\ninstruments, specifically the Nord Stage 3 keyboards (2017). The exposition focuses primarily on the\nsecond movement of En blanc et noir, although the composer\u2019s version of Pr\u00e9lude \u00e0 l&#39;apr\u00e8s-midi d&#39;un\nfaune for two pianos and the solo prelude \u201cVoiles\u201d are also considered. The authors propose that\nexploring this pivotal music from the Western and Modernist traditions on digital instruments allows\nit to be presented and heard in new ways, thereby expanding our perception and experience of it.\nSeveral video-recorded performances of these pieces are provided. An outline of Debussy\u2019s own\npreferences concerning instruments is offered, together with some brief comments on his broader\naesthetics, our perspective being that our versions remain congruent with underlying aspects of\nboth of these.<\/jats:p>","DOI":"10.22501\/nmh-ar.1081430","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T12:14:37Z","timestamp":1684757677000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond black and white"],"prefix":"10.22501","author":[{"family":"Bernard Lanskey","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Stephen Emmerson","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Bernard Lanskey","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:27Z","timestamp":1727194107000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1081430\/1081431"}},"issued":{"date-parts":[[2020,12,22]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1081430","published":{"date-parts":[[2020,12,22]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:00Z","timestamp":1727238720178},"posted":{"date-parts":[[2023,11,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Ko = water in Mapundungun (Mapuche language).\nThe reflection revolves around how we divide the waters in time-based media practices in the current context of environmental emergency + war. The analysis begins inspired by the Mapuche people about interconnectedness with rivers and lakes, raising a question about art practices today. Ko's idea is based on how water flows from the sides (positions, political strategies, visions) and divides territories. How to make performance art sustainable? To answer this question, a capsule is presented around the ecology of time-based media as a fluid art practice. To understand in three steps this observation selected exponents from around the world and Austria helps to make a final selection of three performance artists living and working in Vienna, observed as different currents of one sea with leitmotiv and policy paths. The aim is to use this classification to speculate on how they could improve sustainability in the next decade. Ko speculates on how practices use these territories divided as a sea with currents. Where bodies could achieve the awareness needed especially in terms of water crisis scarcity and safe access. The final thought claims attention to fluid thinking to find solutions and build a sustainable community.<\/jats:p>","DOI":"10.22501\/rc.2284406","type":"posted-content","created":{"date-parts":[[2023,11,28]],"date-time":"2023-11-28T22:33:53Z","timestamp":1701210833000},"source":"Crossref","is-referenced-by-count":0,"title":["Ko. Fluid Practices."],"prefix":"10.22501","author":[{"family":"Sergio Patricio","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:03Z","timestamp":1727192523000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2284406\/2284405"}},"issued":{"date-parts":[[2023,11,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2284406","published":{"date-parts":[[2023,11,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:00Z","timestamp":1727238720011},"posted":{"date-parts":[[2022,7,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"As part of the Visual Ethnography master\u2019s at Leiden University, this interactive website invites you to join my interlocutors and me to walk, hear and see with us the Hatertse and Overasseltse fens (near Nijmegen). After four months of fieldwork \u2013 I conducted semi-structured interviews, recorded collaborative footage and performed sensory walks \u2013 I studied human-nature relationships of educated individuals with extensive knowledge of this area. In presenting the various experiences, I analysed four workable concepts (wind, noise, crowdedness, and pathways) that shape the immersive perception of visitors. This interactive website and creative methodologies used provided me as a visual anthropologist with possibilities to research human-nature encounters within the epoch characterised as the Anthropocene. So, walk with us and experience this extraordinary environment!<\/jats:p>","DOI":"10.22501\/rc.1638393","type":"posted-content","created":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T20:25:05Z","timestamp":1659039905000},"source":"Crossref","is-referenced-by-count":0,"title":["Voices in Nature: A Sensory Experience of the Hatertse and Overasseltse vennen"],"prefix":"10.22501","author":[{"family":"Maarten Hendrik Jan Bekhuis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:11Z","timestamp":1727192651000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1638393\/1638394"}},"issued":{"date-parts":[[2022,7,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1638393","published":{"date-parts":[[2022,7,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:07Z","timestamp":1727194207807},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Maryse Gagnon-Legault\n\nMain Subject: Historical Clarinet\n\nResearch Supervisor: Wouter Verschuren\n\nTitle of Research: Josef Beer - The complete clarinet virtuoso\n\nResearch Question: \n\nWhat was the importance of the 18th century clarinetist Josef Beer and what made him stand out as the first international virtuoso on the clarinet?\n\nSummary of Results:\n\nThe history of music is punctuated by the rise of crucial players who, by force of skills, influenced the work of composers, brought their instrument to technical improvement, pushed the boundaries of musical possibilities or just popularized a specific way of playing. One player did all those things at the end of the 18th century with the use of his instrument, the clarinet. Although mentioned in all history books about the clarinet, today\u2019s scholars have done little research on Josef Beer. However, when looking closer at Beer\u2019s life, repertoire and works, we notice how much he had the chance to be at the right place at the right moment. A known teacher of many of the greatest clarinet virtuosi, such as Michel Yost and Heinrich Baermann, he had influenced a generation of young musicians, popularizing his instrument all over Europe with his extensive tours. But what do we really know about Josef Beer and what made him stand out to become such an influential musician?\nThis research is about the life and works written for and by this intriguing man, as well as a reflection on the general implication of the soloist in clarinet concerti and how the music he played became extremely personal, by the addition of unique ornamentation and variations of the \u201cskeleton\u201d - the score - made by the composer. Mainly biographical and historical, this work aims also to approach Beer through the performances of works by composers gravitating around him, including his own compositions.\n\nBiography:\n\nMaryse Legault is currently pursuing a Master\u2019s degree at the Koninklijk Conservatorium Den Haag in historical clarinets in the class of Eric Hoeprich. During her studies in the Netherlands, Maryse has had the opportunity to perform with many ensembles as a soloist, as well as an orchestral and chamber musician, in various countries including France, Belgium, Germany, The Netherlands and Russia. Curious to approach different repertoires, she focuses her research around the role of late 18th-century clarinet soloists and the birth of the pre-romantic German school of clarinet playing. Maryse holds a bachelor degree from McGill University in Montreal and plans to pursue doctoral studies next year in order to deepen her research experience.<\/jats:p>","DOI":"10.22501\/koncon.217322","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:45:34Z","timestamp":1725921934000},"source":"Crossref","is-referenced-by-count":0,"title":["Josef Beer - The perfect clarinetist"],"prefix":"10.22501","author":[{"family":"Maryse Legault","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:48Z","timestamp":1727193468000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/217322\/217323"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.217322","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:08Z","timestamp":1727194208289},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,6,1]]},"abstract":"Connections; The artistic process of creating a multimedia performance<\/jats:p>","DOI":"10.22501\/koncon.1765670","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:05Z","timestamp":1725921425000},"source":"Crossref","is-referenced-by-count":0,"title":["Connections; The artistic process of creating a multimedia performance"],"prefix":"10.22501","author":[{"family":"Mia Kogelman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:30Z","timestamp":1727193330000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1765670\/1821243"}},"issued":{"date-parts":[[2023,6,1]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1765670","published":{"date-parts":[[2023,6,1]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:08Z","timestamp":1727194208730},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Marios Spyrou\n\nMain Subject: Jazz Drums\n\nResearch Supervisor: Jarmo Hoogendijk\n\nTitle of Research: The Philly Joe Jones Rudimental Soloing Style \n\nResearch Question: \n\nHow can classical exercises be incorporated into jazz improvisations and still sound spontaneous, creative and true to the jazz drumming idiom?\u00a0\n\nSummary of Results: \n\nBefore starting this research at the Royal Conservatoire of The Hague, I was not so aware as how to express myself and phrase on the drum set. By studying the history of the instrument, I have found out that all the great jazz drummers have adopted and incorporated the 26 American drum rudiments in their playing, which include several sticking patterns \u201cborrowed\u201d from the classical music and the Swiss Army drum corps. These rudiments are like scales for melodic \u2013 instrument players, who have to practice and know them very well in order to gain technique and express themselves on their instruments. The same applies to drummers using these 26 sticking patterns. While I was listening to the great jazz drummers, I discovered that a perfect example for this is Philly Joe Jones. You can clearly hear in his soloing that he is using these rudiments in his own unique way, making them sound swinging and therefore adopting them into the bebop drumming. I therefore decided to take Philly Joe as my main \u201cmodel\u201d for this research. I started transcribing his solos and analyzing his phrasing, making my own variations and phrases based on this rudimental approach. My final result is that I can know phrase on the drums and express myself freely whenever I have to take a solo, without copying or playing standard phrases from jazz drummers like I used to do in the past, while still sounding authentic and true to the jazz drumming style. \n\nBiography:\n\nMarios Spyrou was born in Nicosia in 1990. He was inspired by from an early age by his father, who is also a jazz drummer. At the age of 19 he enrolled in University of Nicosia from where he graduated. There he met the great Cypriot saxophonist Charis Ioannou and started being interested in Jazz music. He attended the Bicommunal Jazz Program seminars in Cyprus led by the great New York Jazz virtuosos Ari Roland, Chris Byars and other well-known Jazz musicians. While attending these seminars, Marios was influenced by the jazz drummer Keith Balla who introduced him into the world of bebop style. In 2015 he moved to The Hague, where he is currently studying with the legendary jazz drummer Eric Ineke. On May 2015 he won the second price of the 1st Apollon Jazz competition in Greece with the Cypriot jazz band BopCy.<\/jats:p>","DOI":"10.22501\/koncon.306978","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:44:54Z","timestamp":1725921894000},"source":"Crossref","is-referenced-by-count":0,"title":["The Philly Joe Jones Rudimental Soloing Style"],"prefix":"10.22501","author":[{"family":"Marios Spyrou","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:40Z","timestamp":1727193460000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/306978\/306979"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.306978","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:09Z","timestamp":1727194209999},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,5,11]]},"abstract":"Born in 1892, composer Nikolai Obukhov belongs to the Russian avant-garde generation and was one of the pioneers in experimenting with twelve-tone systems, notation, and electronic instruments. He stands out from his contemporaries having inherited not only some aspects of Alexander Scriabin\u2019s musical style, but, most prominently, the Russian symbolist belief in transcendence and collective spiritual uplifting through the performative act as well. The metaphysical substance and religious symbolism of Obukhov\u2019s body of work reveals itself as a very rich and exciting source of inspiration for performers today.\n\nIn this exposition I analyze the most relevant features of Nikolai Obukhov\u2019s aesthetic, from his conception of the total work of art, to his harmonic language and annotations on the score, contextualizing them in the broader cultural and philosophical panorama of Russian Symbolism. I focus on understanding the social function of musical performance, and by conceptualizing certain basic principles, I shape my own performative approach to Nikolai Obukhov\u2019s solo piano works. In the creative process of building a more holistic performance practice inspired by Russian Symbolism, the role of the modern performer expands from one of mere executor to the curator of an experience both for themself and for their audience. With this research I intend to encourage the musical community to reflect on our current relation with performance, to experiment with different concert formats, and to realize that we too, like the artistic community of Russians mystics, can project our own hopes about the future of civilization in our performance practices.<\/jats:p>","DOI":"10.22501\/koncon.1425933","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:39:07Z","timestamp":1725921547000},"source":"Crossref","is-referenced-by-count":0,"title":["Rethinking the traditional concert format through the lens of Russian mystic composer Nikolai Obukhov"],"prefix":"10.22501","author":[{"family":"Carlota Carvalho","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:16Z","timestamp":1727193376000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1425933\/1425934"}},"issued":{"date-parts":[[2022,5,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1425933","published":{"date-parts":[[2022,5,11]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407975,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0058","type":"journal-article","created":{"date-parts":[[2022,10,27]],"date-time":"2022-10-27T11:23:58Z","timestamp":1666869838000},"source":"Crossref","is-referenced-by-count":0,"title":["Von Pilzen in Beuteln und Gummib\u00e4ndern. Einige fragmentierte Bemerkungen zum k\u00fcnstlerischen Forschen an der Hochschule f\u00fcr Musik und Tanz K\u00f6ln"],"prefix":"10.22501","author":[{"given":"Evelyn","family":"Buyken","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2022,10,28]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:24Z","timestamp":1742292204000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/de\/von-pilzen-beuteln-und-gummibaendern-einige-fragmentierte-bemerkungen-zum-kuenstlerischen-forschen"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0058","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2024,12,5]],"date-time":"2024-12-05T05:28:10Z","timestamp":1733376490786,"version":"3.30.1"},"posted":{"date-parts":[[2024,12,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The quest of reconciling scholarship and interpretative freedom has always been present in the early music movement discourse, since its 19th century foundations. Confronted with a plurality of performance practices, the performer of Early Music is forced to make interpretative choices, based on musicological research of the sources and their personal taste.\n\nThe critical analysis of the sources related to a musical work is often a time-consuming and cumbersome task, usually provided by critical editions made by musicologists. Such editions primarily focus on the composer's agency, neglecting the contribution of a complex network of professions, ranging from editors, conductors, amateur and professional performers and collectors. \n\nThe FAAM, Flemish Archive for Annotated Music, is an interdisciplinary project at the Royal Conservatoire Antwerp that wishes to explore the possibilities of annotation analysis on music scores for historically informed musicians. \n\nAnnotations are a valuable source of information to recollect the decision-making process of musicians of the past. Especially when original musical recordings are not available, the marks provided by these performers of the past are the most intimate and informative connections between modern and ancient musicians.\n\nContrary to a purely scholarly historically informed practice approach, based on the controversial concept of authenticity, we wish to allow the modern performers to reconcile their practice with the one of their predecessors in a process of dialectic emulation, where artistic process is improved through the past but does not stagnate in it.<\/jats:p>","DOI":"10.22501\/rc.2406928","type":"posted-content","created":{"date-parts":[[2024,12,4]],"date-time":"2024-12-04T15:28:02Z","timestamp":1733326082000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring plurality of interpretation through annotations in the long 19th century: musician's perspectives and the FAAM project."],"prefix":"10.22501","author":[{"family":"Nicholas Cornia","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,4]],"date-time":"2024-12-04T15:28:02Z","timestamp":1733326082000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2406928\/2406927"}},"issued":{"date-parts":[[2024,12,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2406928","published":{"date-parts":[[2024,12,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T22:10:36Z","timestamp":1742249436349,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T00:00:00Z","timestamp":1742169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,3,17]]},"abstract":"This Exposition is a brief ironic comment on the ongoing degradation, commodification, and colonisation of food and its many dimensions \u2014 recipes, ingredients, context \u2014 and a reflection on the territorial definitions that shape identity, in this case of South Asians and the Global South, once bound together as a people and still united in the brieftopian world of the Author\u2019s Greatest Biryani: an amalgamative dish of political and cultural reproductions, drenched in time, where old and new contest identity.\n\nThrough a conversational, autoethnographic lens, the exposition blends historical, colonial, and territorial reflections, using Biryani as both departure point and metaphor for shared identity and dislocation. Visual collages \u2014 archival, familial, and sourced \u2014 act as probes connecting memory, culture, and belonging. Ultimately, the work offers the Author\u2019s Greatest Biryani as a living document of generational knowledge and a utopian gesture, inviting both insiders and outsiders to gather around a dish transcending borders and time.<\/jats:p>\n keywords: food, food studies, recipes, food as appropriation, food design, colonialism, colonial memory, memory practice, archives, Archival Research, Indian Subcontinent, Biryani<\/jats:p>","DOI":"10.22501\/vis.2837254","type":"journal-article","created":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T21:35:55Z","timestamp":1742247355000},"source":"Crossref","is-referenced-by-count":0,"title":["ideally, the biryani that brings us all together"],"prefix":"10.22501","author":[{"family":"Saniya Jafri","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T21:35:56Z","timestamp":1742247356000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2837254\/3349964"}},"issued":{"date-parts":[[2025,3,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/vis.2837254","published":{"date-parts":[[2025,3,17]]}},{"indexed":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T05:29:16Z","timestamp":1740806956557,"version":"3.38.0"},"posted":{"date-parts":[[2025,2,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,25]],"date-time":"2025-02-25T00:00:00Z","timestamp":1740441600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Quantum methods, based on differential equations, proved invaluable for many applications, ranging from building complex machines to mapping the motions of celestial objects. They represent a decisive advance in humanity's ability to understand and quantify the multi-dimensional reality. Epicurus\u2019 groundbreaking reflection in these fields influence the fields of applied mathematics today, profoundly shaping the scientific understanding of the solid forms that make up the universe.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3442657","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:08:24Z","timestamp":1740740904000},"source":"Crossref","is-referenced-by-count":0,"title":["Epicurus\u2019 Quantum Philosophy"],"prefix":"10.22501","author":[{"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:08:24Z","timestamp":1740740904000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3442657\/3442656"}},"issued":{"date-parts":[[2025,2,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3442657","published":{"date-parts":[[2025,2,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,30]],"date-time":"2025-03-30T14:40:28Z","timestamp":1743345628625,"version":"3.40.3"},"posted":{"date-parts":[[2025,3,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,30]],"date-time":"2025-03-30T00:00:00Z","timestamp":1743292800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201cOcultismo Desapropriado\u201d, \u00e9 um ensaio que d\u00e1 continuidade na investiga\u00e7\u00e3o no ambto do doutorado em Artes Pl\u00e1sticas na Universidade do Porto. O presente ensaio volta seu interesse sobre os fen\u00f4menos perceptivos que decorrem desde a a\u00e7\u00e3o realizada com a obra \"Cong\u00e1 Fora do Tempo, relacionando a experi\u00eancia do fruidor presente nas duas obras. As instala\u00e7\u00f5es atraem o espectador para participar da obra e interagir com ela atrav\u00e9s da a\u00e7\u00e3o. Ambas as obras se relacionam ou s\u00e3o inspiradas em algum ritual de matriz religiosa, mas n\u00e3o repetem ou imitam esses rituais, t\u00e3o pouco tendem \u00e0 simula\u00e7\u00e3o dos mesmos. S\u00e3o a\u00e7\u00f5es de arte com o intuito de provocar o toque em seu \u00edntimo atrav\u00e9s da brincadeira de fazer pedidos e desejos.\nEsta publica\u00e7\u00e3o compartilha das mesmas refer\u00eancias bibliogr\u00e1ficas do ensaio \"Cong\u00e1 Fora do Tempo\".\n----------------------------------------------------------------------\n\u2018Disappropriated Occultism\u2019 is an essay that continues the research carried out as part of the Doctorate in Fine Arts at the University of Porto. This essay focuses on the perceptual phenomena resulting from the action carried out with the work 'Cong\u00e1 Fora do Tempo', relating the experience of the viewer present in both works. The installations invite the viewer to participate and interact with the work through action. Both works relate to or are inspired by a religious ritual, but they don't repeat or imitate these rituals, nor do they tend to simulate them. They are artistic actions intended to provoke an intimate touch through the play of making requests and wishes.\nThis publication shares the same bibliographical references as the essay \u2018Cong\u00e1 Out of Time\u2019.<\/jats:p>\n keywords: artistic research, promote, instala\u00e7\u00e3o, ritual, magia, interaction and immersion, sorcery, wish, desejo<\/jats:p>","DOI":"10.22501\/rc.3480037","type":"posted-content","created":{"date-parts":[[2025,3,30]],"date-time":"2025-03-30T14:08:41Z","timestamp":1743343721000},"source":"Crossref","is-referenced-by-count":0,"title":["Ocultismo Desapropriado\/ Disappropriated Occultism"],"prefix":"10.22501","author":[{"family":"Carolina Albuquerque","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,30]],"date-time":"2025-03-30T14:08:42Z","timestamp":1743343722000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3480037\/3480038"}},"issued":{"date-parts":[[2025,3,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3480037","published":{"date-parts":[[2025,3,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202304},"posted":{"date-parts":[[2024,1,24]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A short film by Tor Einar Bekken from the Ila\/Skansen harbour, Trondheim, Norway.\nMusic improvised by Tor Einar Bekken, acoustic guitar.<\/jats:p>","DOI":"10.22501\/rc.2511584","type":"posted-content","created":{"date-parts":[[2024,1,24]],"date-time":"2024-01-24T14:19:35Z","timestamp":1706105975000},"source":"Crossref","is-referenced-by-count":0,"title":["Improvisation Three: Another Shifting Landscape"],"prefix":"10.22501","author":[{"family":"Tor Einar Bekken","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:45Z","timestamp":1727192505000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2511584\/2511585"}},"issued":{"date-parts":[[2024,1,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2511584","published":{"date-parts":[[2024,1,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202943},"posted":{"date-parts":[[2019,8,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Name: Wesley Troeger\nsubject: composition\nsupervisors: Samuel Vriezen, Eric Kluitenberg\ntitle: Reapplying Phenomena of Meaning\nquestion: how can the chosen four phenomena of meaning be reapplied in composition?\n\n\nThe paper explores an artistic process of observing and analyzing complexities of meaning in works of different media, and reapplying these complexities in musical composition. Films, stage works, novels and paintings are analyzed for their relevant properties in a series of brief case studies. The problems of abstraction and reapplication are examined, and the ways in which I have done the latter are explained.\n\nbio: Wesley Troeger is a master's student in composition at the Royal Conservatoire of The Hague. He is from Westchester, New York and currently studies with Yannis Kyriakides and Alison Isadora. He holds a bachelor's degree in composition from New England Conservatory in Boston.<\/jats:p>","DOI":"10.22501\/rc.623308","type":"posted-content","created":{"date-parts":[[2019,8,3]],"date-time":"2019-08-03T03:12:40Z","timestamp":1564801960000},"source":"Crossref","is-referenced-by-count":0,"title":["Reapplying Phenomena of Meaning"],"prefix":"10.22501","author":[{"family":"Wesley Troeger","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:59Z","timestamp":1727192939000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/623308\/623309"}},"issued":{"date-parts":[[2019,8,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.623308","published":{"date-parts":[[2019,8,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:04Z","timestamp":1727194204461},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"Name: Sandra P. P\u00e9rez Romero\n\nMain Subject: Historical Clarinet\n\nResearch Supervisor: In\u00eas de Avena Braga\n\nTitle of Research: The Voice of the Chalumeau: A historical study of music for various sizes of chalumeaux and voice in the Holy Roman Empire and the Republic of Venice 1703-1767\n\nResearch Question: What was the importance of the chalumeau in XVIII century vocal music in the Holy Roman Empire and the Republic of Venice?\n\nSummary of Results: \nThe chalumeau is a single reed woodwind instrument whose development lies between the recorder and the clarinet. It was used extensively as an obbligato instrument in vocal repertoire throughout the eighteenth century, when it was a highly popular instrument in the major courts in Europe. The vocal repertoire that included chalumeau from this time period \u2013 as this work aimed to illustrate \u2013 is quite large and diverse. It accounts for several hundreds of pieces and it encompasses a wide range of genres, all with unique instrumentation. The development of the repertoire for chalumeau was directly linked to three Holy Roman Emperors and the political milieu in the Hofkapelle in Vienna during the first half of the eighteenth century. Besides Vienna, the chalumeau was extremely popular in other courts such as Dresden, Hamburg and Darmstadt; the latter proved to be an extremely fertile land for chalumeau writing with Johann Christoph Graupner, who included parts for different sizes of chalumeaux in more than eighty cantatas. Other prolific composers for chalumeau include Atilio Ariosti, the brothers Giovanni and Antonio Maria Bononcini, Antonio Caldara, Francesco Bartolomeo Conti, Johann Joseph Fux, Johann Adolph Hasse, Johann David Heinichen, Giovanni Alberto Ristori, Johann Franz Strall, Georg Philipp Telemann, Antonio Vivaldi, among others. After a thorough search through RISM (R\u00e9pertoire International des Sources Musicales) and other online library catalogues, a total of 203 vocal works that include one or more parts for chalumeaux is presented in this thesis. Performance practice and general considerations on the style of this repertoire are addressed as well, with emphasis on the genres of Cantata, Opera, Oratorio and Serenata, but also Antiphonies, Hymns, Litanies, Masses, Psalms and other sacred works that employed the instrument as well. In addition, this research has resulted in several world premiere recordings of music by Hasse and Caldara. Finally, considerations on the \u201cgloom\u201d color often associated with the chalumeau in secondary sources are contrasted with the descriptions of the instrument in primary sources and the evidence present in the works composed outside Vienna.\n\nBiography: \nSandra P\u00e9rez Romero (b.1992) is a Mexican born historical clarinetist. In 2015, she graduated Cum Laude from the Music Bachelor in Universidad Veracruzana (Mexico), under the supervision of Juan Manuel Sol\u00eds (clarinet) and Ricardo Miranda (Musicology). She has collaborated with several orchestras in Mexico both as an active member and as a soloist and she has participated in clarinet and chamber music festivals in North America and Europe.<\/jats:p>","DOI":"10.22501\/koncon.298200","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:43:49Z","timestamp":1725921829000},"source":"Crossref","is-referenced-by-count":0,"title":["The Voice of the Chalumeau"],"prefix":"10.22501","author":[{"family":"Sandra\tPerez Romero","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:25Z","timestamp":1727193445000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/298200\/298201"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.298200","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:02Z","timestamp":1727196002067},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,6,26]]},"abstract":"In his contribution \"Post-Digital Angst \u2013 The Direct Experience\", Mong-Sum Joseph Leung (Center Research Focus, PhD candidate PhD in Art) explores anxiety in the post-digital age, examining it as a basic anthropological condition in relation to concepts such as hollowness, nullity, and the unknown. Leung intertwines personal experiences from daily life with his artistic practice and ontological reflections on the human condition, working with Heidegger\u2019s notions of Sorge and Angst, to reflect on affective experiences in a digitalized world.<\/jats:p>","DOI":"10.22501\/repos.2481763","type":"journal-article","created":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T09:13:34Z","timestamp":1719393214000},"source":"Crossref","is-referenced-by-count":0,"title":["Post-Digital Angst \u2013 The Direct Experience"],"prefix":"10.22501","author":[{"family":"Mong Sum Leung","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:54Z","timestamp":1727193894000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2481763\/2481764"}},"issued":{"date-parts":[[2024,6,26]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/repos.2481763","published":{"date-parts":[[2024,6,26]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:08Z","timestamp":1727196008617},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2024,9,6]]},"abstract":"The artistic development project Radical Interpretations investigates two iconic works for solo percussion and re-composes these. The goal of the project was to develop new creative and transdisciplinary research in interpretation of musical works.\n \nParticipants: percussionist Kjell Tore Innervik, Norwegian Academy of Music (NMH), composer Ivar Frounberg, NMH, designer Maziar Raein, Oslo National Academy of the Arts, experience designer St\u00e5le Stenslie, The Oslo School of Architecture and Design, and music recording producer Morten Lindberg.\n\nDuring the 3 years project, the team engaged with the music of Morton Feldman and Iannis Xenakis. The solo percussion pieces The King of Denmark and Psappha were the point of departure.\n\nThe cd [UTOPIAS ](http:\/\/www.2l.no\/pages\/album\/141.html)(2L) contains the pure audio version of the pieces in high definition and immersive sound.-><-\n\nOn this site you will find other interpretations and iterations of the music made by the team.<\/jats:p>","DOI":"10.22501\/nmh-ar.2755933","type":"journal-article","created":{"date-parts":[[2024,9,6]],"date-time":"2024-09-06T13:07:16Z","timestamp":1725628036000},"source":"Crossref","is-referenced-by-count":0,"title":["Radical Interpretations of Iconic works for Percussion"],"prefix":"10.22501","author":[{"family":"Kjell Tore Innervik","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:18Z","timestamp":1727194098000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2755933\/2755934"}},"issued":{"date-parts":[[2024,9,6]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.2755933","published":{"date-parts":[[2024,9,6]]}},{"indexed":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T03:10:24Z","timestamp":1763435424233,"version":"3.45.0"},"posted":{"date-parts":[[2025,11,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T00:00:00Z","timestamp":1763424000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The landscape of ambient music presents unique challenges for critique and classification due to its wide range of subgenres, functions and goals. Often defined by its atmospheric and immersive qualities, ambient music is traditionally seen as providing a backdrop for relaxation or as a means to block out the harsh reality of the outside world. This dominant theory, while valuable in certain contexts, tends to oversimplify the multifaceted nature of ambient music and ignores the potential for more nuanced listening experiences. The proposed alternative theory of interpassivity challenges existing understandings of ambient music production and consumption modes.Drawing on psychoanalytic theory, aesthetics and media studies, interpassivity suggests that, under certain circumstances, audiences can choose to delegate the experience of enjoyment to the music itself. This delegation involves a passive surrender of agency that allows the music to shape the listener\u2019s experience without direct, conscious participation.To illustrate this, we contrast ambient music with more conventional music styles. Exploring both compositional and audience perspectives, we examine how ambient music\u2019s intentional lack of participation distinguishes it from active and attentive music listening practices. By understanding the interplay between the compositional choices of musicians and the passive role assumed by the audience, we may gain a deeper understanding of the various expressions of the genre. We examine the modes of listening commonly associated with ambient music as a means for interrogating the interpassive nature of the genre.Scholars argue that ambience in the arts is an active and complex force that shapes our perception and understanding of sound and that it should not be dismissed as passive or inconsequential, but rather be seen as a dynamic element that demands critical engagement. In contrast to an emphasis on active engagement, our perspective accommodates instances where listeners engage in a more passive experience. We advocate for an expanded view of the listener\u2019s role in ambient music, recognising the potential for aesthetic experiences that may emerge from the intentional relinquishment of involvement. This nuanced perspective aligns with the complexities inherent in the genre and enriches the discourse surrounding ambient music, offering a broader framework for its classification and appreciation.<\/jats:p>\n keywords: Interpassivity, Ambient<\/jats:p>","DOI":"10.22501\/rc.3838805","type":"posted-content","created":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T03:05:53Z","timestamp":1763435153000},"source":"Crossref","is-referenced-by-count":0,"title":["Passive Listening: Exploring Interpassivity in Ambient Music"],"prefix":"10.22501","author":[{"family":"David Chechelashvili","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Alan Brown","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T03:05:53Z","timestamp":1763435153000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3838805\/3838806"}},"issued":{"date-parts":[[2025,11,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3838805","published":{"date-parts":[[2025,11,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T19:42:46Z","timestamp":1765568566355,"version":"3.48.0"},"posted":{"date-parts":[[2025,12,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T00:00:00Z","timestamp":1765497600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This Exposition is an extension of the MRes Thesis \"The role multichannel Sound Art plays in the Architecture of Theatre and Audience Engagement.\u201d This nonlinear spread of textual, aural, and visual information will take you through a year of Practice as Research\u2013exploring the field of Sound Art within Cork City\u2013culminating in a multichannel audio installation in Cork Opera House on Culture Night 2025<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3915194","type":"posted-content","created":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T18:58:51Z","timestamp":1765565931000},"source":"Crossref","is-referenced-by-count":0,"title":["The role multichannel Sound Art plays in the Architecture of Theatre and Audience Engagement"],"prefix":"10.22501","author":[{"family":"Joshua Dyson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T18:58:51Z","timestamp":1765565931000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3915194\/4016062"}},"issued":{"date-parts":[[2025,12,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3915194","published":{"date-parts":[[2025,12,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,15]],"date-time":"2025-12-15T16:48:44Z","timestamp":1765817324084,"version":"3.48.0"},"posted":{"date-parts":[[2025,12,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,15]],"date-time":"2025-12-15T00:00:00Z","timestamp":1765756800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This essay proposes the \u201cErased Museum\u201d as both a critical framework and an institutional ethics: a museum that recognizes loss as its primary collection and disappearance as a mode of curation. Drawing from Absential Aesthetics, it argues that destruction\u2014by fire, flood, war, neglect, theft, or obsolescence\u2014does not terminate cultural meaning but reorganizes it into a second, invisible archive composed of voids, residues, and public conscience. Through case studies and touchstones including the Library of Alexandria, Brazil\u2019s National Museum (2018), the Mosul Museum (2015), and architectural and curatorial practices that preserve wounds rather than conceal them (e.g., post-damage restorations and void-centered memorial architectures), the essay reframes conservation as a dialogue with entropy rather than a fantasy of permanence. It also traces contemporary artistic strategies that curate absence directly\u2014fabricated archives, missing inventories, empty frames, restitution bureaucracies\u2014showing how loss can become documentation rather than mere lament. The work concludes by extending the ethics of disappearance to the digital domain, where decay occurs without smoke, and by proposing \u201ctransparent loss protocols\u201d as a future-facing curatorial responsibility.<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, The Journal of Post-Interpretive criticism, The Journal of Post-Interpretive criticism ISSN 2819-7232), The Journal of Post-Interpretive Criticism (Q136530009)<\/jats:p>","DOI":"10.22501\/rc.4067207","type":"posted-content","created":{"date-parts":[[2025,12,15]],"date-time":"2025-12-15T16:46:41Z","timestamp":1765817201000},"source":"Crossref","is-referenced-by-count":0,"title":["Erased Museums \u2013 Destroyed Collections as Conceptual Inheritance"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,15]],"date-time":"2025-12-15T16:46:41Z","timestamp":1765817201000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4067207\/4067206"}},"issued":{"date-parts":[[2025,12,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4067207","published":{"date-parts":[[2025,12,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,17]],"date-time":"2025-12-17T18:07:06Z","timestamp":1765994826807},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,3,8]]},"abstract":"This exposition emerges from the field notes diary of the researcher during their stay in the Ores residency program at \u00d6r\u00f6 Fortress Island. \u00d6r\u00f6, previously a military fortress, dates from the Russian Empire era and it was closed to visitation until 2015. The piece focuses on the temporalities enacted outside the city, in connection with more-than-human materialities, and, in contrast, discusses the neurotypical constraints of academic spaces. I criticise the (lack of) approach to neurodiversity in educational settings, and the temporalities implied in the required tasks in such settings, even when the subject is physically distant from the academic space. There is a growing interest in Slow scholarship (Ulmer, 2017; 2018). At \u00d6r\u00f6, I proposed experiments in video, photography and writing, by thinking with slowness in ontological terms. In this diary, slowness is approached conceptually and anecdotally, in a humorous autoethnographic fashion. The residence period coincided with the initial quarantine to neutralise the coronavirus pandemic, which resonated with the text, always existing in between a personal narrative and a conceptual discussion. The exposition features a photographic essay and several video clips.<\/jats:p>","DOI":"10.22501\/ruu.831242","type":"journal-article","created":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T13:56:21Z","timestamp":1615211781000},"source":"Crossref","is-referenced-by-count":1,"title":["A Diary on Slowness at \u00d6r\u00f6 Fortress Island"],"prefix":"10.22501","author":[{"family":"Francisco Beltrame Trento","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:00:02Z","timestamp":1727193602000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/831242\/831243"}},"issued":{"date-parts":[[2021,3,8]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/ruu.831242","published":{"date-parts":[[2021,3,8]]}},{"indexed":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T11:40:08Z","timestamp":1752493208615,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T00:00:00Z","timestamp":1752451200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,7,14]]},"abstract":"Musical performance anxiety is a challenge that affects many musicians, often hindering their ability to express themselves fully on stage. Drawing from my own experiences, this project explores how regular performance opportunities and reflective journaling can help young musicians overcome these fears.\n\nOver two weeks of workshops at the Conservat\u00f3rio de M\u00fasica de Vila do Conde in Portugal, teenagers aged 15 to 18 will participate in performances, write about their experiences in journals, and discuss their reflections with peers. The goal is to help them better understand their emotions, develop practical strategies, and build confidence on stage.\n\nUsing questionnaires and journal entries, the project will assess how these tools impact their comfort and growth as performers. Ultimately, the aim is to create a supportive environment where young musicians can face their fears, embrace self-expression, and find joy in their art.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/koncon.3202097","type":"journal-article","created":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T11:22:19Z","timestamp":1752492139000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring the Impact of Regular Performance and Journal Writing on Adolescent Musicians: a Path To Alleviating Musical Performance Anxiety."],"prefix":"10.22501","author":[{"family":"Filipe Capit\u00e3o","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T11:22:19Z","timestamp":1752492139000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3202097\/3202098"}},"issued":{"date-parts":[[2025,7,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3202097","published":{"date-parts":[[2025,7,14]]}},{"indexed":{"date-parts":[[2025,4,23]],"date-time":"2025-04-23T04:14:07Z","timestamp":1745381647299,"version":"3.40.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2024,11,4]],"date-time":"2024-11-04T00:00:00Z","timestamp":1730678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2024,11,4]]},"abstract":"The project explores the artistic potential of unpredictability, specifically within the context of electronic music. By referring to an original instrument design\u2014including programming a number of randomized systems\u2014a series of compositions for keyboard instruments were developed. The central theme is the relationship between dialogue and loss of control during the creative process. This project was documented intermediately with new music, as well as technological and procedural reflections.<\/jats:p>\n keywords: electronic music, DX-7, Chance, aleatoric, prepared, max msp, Random, synthesizers, micro tonality, glissando, spectrality, computer music, RMC staff<\/jats:p>","DOI":"10.22501\/rmc.2718187","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:42:57Z","timestamp":1737542577000},"source":"Crossref","is-referenced-by-count":0,"title":["The Ever Changing Instrument"],"prefix":"10.22501","author":[{"family":"Anders P. Jensen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T08:59:42Z","timestamp":1745312382000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2718187\/3064320"}},"issued":{"date-parts":[[2024,11,4]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/rmc.2718187","published":{"date-parts":[[2024,11,4]]}},{"indexed":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T08:40:25Z","timestamp":1743669625832,"version":"3.40.3"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T00:00:00Z","timestamp":1743638400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2025,4,3]]},"abstract":"Blog presenting news and updates from the project 'Craftmanship', by Kjell Tore Innervik and H\u00e5kon H\u00f8gemo<\/jats:p>\n keywords: sl\u00e5ttetromme, percussion, drum beatings, sl\u00e5tt, craft, h\u00e5ndverk, seremoni, ritual, hardanger fiddle, traditional music, Indre Sogn (Norway), re-creation, revival of tradition<\/jats:p>","DOI":"10.22501\/nmh-ar.1059992","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T08:11:48Z","timestamp":1743667908000},"source":"Crossref","is-referenced-by-count":0,"title":["Craftmanship - blog"],"prefix":"10.22501","author":[{"family":"Kjell Tore Innervik","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T08:11:49Z","timestamp":1743667909000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1059992\/1059993"}},"issued":{"date-parts":[[2025,4,3]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1059992","published":{"date-parts":[[2025,4,3]]}},{"indexed":{"date-parts":[[2025,4,15]],"date-time":"2025-04-15T15:40:11Z","timestamp":1744731611150,"version":"3.40.4"},"posted":{"date-parts":[[2025,4,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,15]],"date-time":"2025-04-15T00:00:00Z","timestamp":1744675200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"O presente ensaio visa fomentar uma discuss\u00e3o acerca da intersec\u00e7\u00e3o entre a arte, a espiritualidade e a imigra\u00e7\u00e3o, temas que se revelam not\u00f3rios nas express\u00f5es culturais contempor\u00e2neas sociais e pessoais. Mais concretamente, analisa-se a forma como a artista navega na sua identidade e experi\u00eancia, abordando quest\u00f5es sociais e reflex\u00f5es pessoais sobre a experi\u00eancia do imigrante.\nOs elementos contidos nesta obra incluem pe\u00e7as de alum\u00ednio gravadas com sigilos de amor e m\u00e3os de cer\u00e2mica com olhos nas palmas. Os olhos remetem para a M\u00e3o de F\u00e1tima, um s\u00edmbolo de prote\u00e7\u00e3o, mas as m\u00e3os tamb\u00e9m evocam as chagas em pessoas de cor, sugerindo um v\u00ednculo com experi\u00eancias hist\u00f3ricas de dor e sofrimento. Ao evidenciar as cicatrizes de pessoas que realmente viveram essas feridas, esta obra incorpora uma dimens\u00e3o de mem\u00f3ria e resist\u00eancia.\nEste ensaio \u00e9 um registo de hist\u00f3rias e mem\u00f3rias pessoais na produ\u00e7\u00e3o art\u00edstica, inserido na investiga\u00e7\u00e3o do doutoramento em Artes Pl\u00e1sticas da Universidade do Porto.\n------------------------------------------------------------------------------------------\nThe present essay seeks to stimulate a discourse on the confluence of art, spirituality and immigration, themes that have become increasingly prevalent in contemporary cultural expressions, both social and personal. Specifically, it will analyse how the artist navigates her identity and experience, addressing social issues and personal reflections on the immigrant experience.\nThe elements of the installation include aluminium pieces engraved with love sigils and ceramic hands with eyes in their palms. The eyes refer to the hand of Fatima, a symbol of protection, but the hands also evoke the wounds on the hands of people of colour, suggesting a link with historical experiences of pain and suffering. By highlighting the scars of people who have actually experienced these wounds, this work incorporates a dimension of memory and resistance.\nThis essay is a register of personal stories and memories in artistic production, as part of the research for a PhD in Plastic Arts at the University of Porto.<\/jats:p>\n keywords: sigil, artistic research, decolonization, magick, migrants, migration<\/jats:p>","DOI":"10.22501\/rc.3499204","type":"posted-content","created":{"date-parts":[[2025,4,15]],"date-time":"2025-04-15T14:59:21Z","timestamp":1744729161000},"source":"Crossref","is-referenced-by-count":0,"title":["Sigilos de amor e de Chagas\/Sigils of Love and Sores"],"prefix":"10.22501","author":[{"family":"Carolina Albuquerque","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,4,15]],"date-time":"2025-04-15T14:59:21Z","timestamp":1744729161000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3499204\/3499205"}},"issued":{"date-parts":[[2025,4,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3499204","published":{"date-parts":[[2025,4,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T07:40:09Z","timestamp":1743666009022,"version":"3.40.3"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T00:00:00Z","timestamp":1743638400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,4,3]]},"abstract":"Sashko Protyah is a film director and activist from Mariupol, Ukraine. He's a co-founder of Freefilmers, a collective of artists and filmmakers. In his films, he works with topics of memory, otherness, and alienation. Now Sashko is based in Zaporizhzhia and volunteers for IDPs and the Ukrainian army.\nThis interview was taken in February 2024 over email.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/jss.2780442","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T07:10:52Z","timestamp":1743664252000},"source":"Crossref","is-referenced-by-count":0,"title":["\u201cSongs of despair and freedom\u201d. Interview with Sashko Protyah."],"prefix":"10.22501","author":[{"family":"Vadim Keylin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T07:10:52Z","timestamp":1743664252000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2780442\/2780443"}},"issued":{"date-parts":[[2025,4,3]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jss.2780442","published":{"date-parts":[[2025,4,3]]}},{"indexed":{"date-parts":[[2025,4,6]],"date-time":"2025-04-06T15:10:04Z","timestamp":1743952204899,"version":"3.40.3"},"posted":{"date-parts":[[2025,4,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,6]],"date-time":"2025-04-06T00:00:00Z","timestamp":1743897600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Este ensaio tem como objetivo apresentar uma reflex\u00e3o, em forma de registro de mem\u00f3rias sobre as experi\u00eancias relacionadas \u00e0 obra \"Terceira M\u00e3o\", tanto em seu aspecto simb\u00f3lico quanto em sua materialidade. Esta investiga\u00e7\u00e3o art\u00edstica insere-se no contexto do doutoramento em Artes Pl\u00e1sticas na Universidade do Porto.\n\nA primeira m\u00e3o segura a mat\u00e9ria, o toc\u00e1vel\nA segunda m\u00e3o segura o esp\u00edrito, o sens\u00edvel\nA terceira m\u00e3o segura a todos n\u00f3s, \u00e9 o que todos temos em comum. \nSegura eu, voc\u00ea e o outro, em uma rede de tafet\u00e1, ligados \u00e0 terceira m\u00e3o e a todos. \nOs olhos ligam a percep\u00e7\u00e3o do material com o sens\u00edvel espiritual.\nPercep\u00e7\u00e3o simb\u00f3lica visual.\nOlhar para o interior. \nVer al\u00e9m do vis\u00edvel.\nToque et\u00e9reo. \nGesto de ben\u00e7\u00e3o.\n----------------------------------------------------------------------------------\nThis essay aims to reflect, in the form of a memoir, on the experiences related to the work Third Hand, both in its symbolic aspect and materiality. This artistic research is part of the context of my doctorate in Plastic Arts at the University of Porto.\n\nThe first hand holds matter, the tangible\nThe second hand holds the spirit, the sensitive\nThe third hand holds us all, it's what we have in common. \nIt holds me, you, and the other in a taffeta net, connected to the third hand and everyone. \nThe eyes connect the perception of the material with the sensitive spiritual. \nVisual symbolic perception. \nLooking inwards. \nSeeing beyond the visible. \nEthereal touch. \nA gesture of blessing.<\/jats:p>\n keywords: hands, m\u00e3o, ben\u00e7\u00e3o, blessing, olhos, eyes, artistic research, Textile art, Sculpture, magia, terceiro corpo, espirito, espiritualidade<\/jats:p>","DOI":"10.22501\/rc.3493908","type":"posted-content","created":{"date-parts":[[2025,4,6]],"date-time":"2025-04-06T14:45:26Z","timestamp":1743950726000},"source":"Crossref","is-referenced-by-count":0,"title":["A Terceira M\u00e3o\/ The Third Hand"],"prefix":"10.22501","author":[{"family":"Carolina Albuquerque","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,4,6]],"date-time":"2025-04-06T14:45:26Z","timestamp":1743950726000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3493908\/3493909"}},"issued":{"date-parts":[[2025,4,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3493908","published":{"date-parts":[[2025,4,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T19:10:33Z","timestamp":1754161833166,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T00:00:00Z","timestamp":1753747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,7,29]]},"abstract":"Sammendrag:\nDenne oppgaven utforsker hvordan estetiske intensjoner kan utvikles og formidles gjennom interaktiv liveprosessering i et moderne jazzensemble. Prosjektet NEKSUS tar utgangspunkt i fem komposisjoner som gjennom en tredelt prosess utvikles fra tradisjonelle jazzkomposisjoner til mer eksperimentelle lydlandskap. Gjennom fasene dekonstruksjon, estetisk intensjon og bandsamspill, unders\u00f8kes hvordan elektronisk prosessering kan fungere som et kreativt bindeledd mellom musikerne, og hvordan dette p\u00e5virker samspill og improvisasjon. Ved \u00e5 etablere spesifikke estetiske rammeverk for hver komposisjon, legges det til rette for nye interaksjonsformer i ensemblet. Oppgaven dokumenterer denne utviklingsprosessen i detalj og reflekterer over hvordan teknologiske verkt\u00f8y kan integreres som en naturlig del av det improvisatoriske uttrykket. Forskningsprosjektet viser at liveprosessering kan fungere som en neksus \u2013 et knutepunkt for musikalsk samhandling \u2013 som \u00e5pner for nye estetiske muligheter i spenningsfeltet mellom komposisjon, improvisasjon og teknologi. Samtidig belyses utfordringer knyttet til teknologisk implementering i livesammenheng, og hvordan disse kan overkommes gjennom grundig forberedelse og estetisk bevisstgj\u00f8ring.\n\nAbstract:\nThis thesis explores how aesthetic intentions can be developed and expressed through interactive live processing in a contemporary jazz ensemble. The project NEKSUS examines five compositions that, through a three-phase process, evolve from traditional jazz compositions to more experimental soundscapes. Through the phases of deconstruction, aesthetic intention, and ensemble interaction, the research investigates how electronic processing can function as a creative connection between musicians, and how this affects interplay and improvisation. By establishing specific aesthetic frameworks for each composition, new forms of interaction within the ensemble are facilitated. The thesis documents this development process in detail and reflects on how technological tools can be integrated as a natural part of the improvisational expression. The research project demonstrates that live processing can function as a nexus \u2013 a point of connection for musical interaction \u2013 that opens up new aesthetic possibilities in the intersection between composition, improvisation, and technology. Simultaneously, it highlights challenges related to technological implementation in live settings, and how these can be overcome through thorough preparation and aesthetic awareness.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/uia.3521535","type":"journal-article","created":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:29:45Z","timestamp":1753788585000},"source":"Crossref","is-referenced-by-count":0,"title":["NEKSUS: Utvikling av estetiske intensjoner gjennom interaktiv liveprosessering i et moderne jazzensemble"],"prefix":"10.22501","author":[{"family":"Magnus Berdal Holm","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:29:46Z","timestamp":1753788586000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3521535\/3521536"}},"issued":{"date-parts":[[2025,7,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.3521535","published":{"date-parts":[[2025,7,29]]}},{"indexed":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T14:32:11Z","timestamp":1774449131670,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"On the Rocks is a sculptural situation in collaboration with Italian artist and educator Francesco Scial\u00f2. The sculptural situation was ideated as a dialogue with Scial\u00f2's work and occurred at Gallery Last Touch in Mosta on the 2nd of September 2016<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4180176","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:13:11Z","timestamp":1774444391000},"source":"Crossref","is-referenced-by-count":0,"title":["On the Rocks"],"prefix":"10.22501","author":[{"family":"Matthew (Matyou) Galea","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:13:11Z","timestamp":1774444391000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4180176\/4180177"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4180176","published":{"date-parts":[[2026,3,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,21]],"date-time":"2026-03-21T16:02:26Z","timestamp":1774108946245,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,21]],"date-time":"2026-03-21T00:00:00Z","timestamp":1774051200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I started to follow a transhumance a year ago, from November 2024, when I saw a flok spread over a field. Studying the ethological behaviour of the sheeps led me to understeand that the way they spread over the space they inhabit show how they relate to each other. This was a revelation for me, a strong metaphor: the movement of the individual in the landscape is a potential to establish relationships.<\/jats:p>\n keywords: visual art, video installation; performance; landscape; environment;, Video art, performance<\/jats:p>","DOI":"10.22501\/rc.3678816","type":"posted-content","created":{"date-parts":[[2026,3,21]],"date-time":"2026-03-21T15:52:07Z","timestamp":1774108327000},"source":"Crossref","is-referenced-by-count":0,"title":["TO FOLLOW A TRANSHUMANCE"],"prefix":"10.22501","author":[{"family":"Martina Zito","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,21]],"date-time":"2026-03-21T15:52:07Z","timestamp":1774108327000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3678816\/3678817"}},"issued":{"date-parts":[[2026,3,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3678816","published":{"date-parts":[[2026,3,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:11:49Z","timestamp":1759335109953,"version":"build-2065373602"},"posted":{"date-parts":[[2025,2,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,4]],"date-time":"2025-02-04T00:00:00Z","timestamp":1738627200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Dette er startsiden til det kunstneriske doktorgradsprosjektet \"Jording med (bl\u00e5)leire\" av Sigrid Espelien, Kunst og H\u00e5ndverksavdelingen p\u00e5 Kunsth\u00f8gskolen i Oslo<\/jats:p>\n keywords: Jording med (bl\u00e5)leire, bl\u00e5leire, startside, leirekunst, clay, landskap, keramisk kunst, kunsth\u00f8gskolen i oslo, oslo national academy of art, kunstnerisk forskning, artistic research, jording med bl\u00e5leire, jording med (bl\u00e5)leire, grounding with blue clay, grounding with (blue)clay, situated knowledge, situert kunnskap, stedspesifikk kunst, hendelsesbasert kunst, deltagende kunst, jording med bl\u00e5leire sigrid espelien, sigrid espelien, Sigrid Espelien, sosial keramikk<\/jats:p>","DOI":"10.22501\/rc.2984930","type":"posted-content","created":{"date-parts":[[2025,2,4]],"date-time":"2025-02-04T03:53:31Z","timestamp":1738641211000},"source":"Crossref","is-referenced-by-count":0,"title":["Jording med (bl\u00e5)leire"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:27Z","timestamp":1759302627000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2984930\/2984931"}},"issued":{"date-parts":[[2025,2,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2984930","published":{"date-parts":[[2025,2,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:50Z","timestamp":1759335170608,"version":"build-2065373602"},"posted":{"date-parts":[[2023,10,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,10,20]],"date-time":"2023-10-20T00:00:00Z","timestamp":1697760000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Abstract\n\nThe towers of the Stockholm skyline twine with radio transmissions, flying out over the city, drifting down through the streets and sinking into the underground telephone system below. Stockholm has buildings that have been there for centuries, but is also full of modern and contemporary architectures, all jostling for their place in parallel collective memory. In taking the city up as a subject, this artistic PhD project in music expands allegories to these architectural instruments into the world of the mechanical and the electrical. By taking up and transforming the materials of the cityscape, this project spins ephemeral cities more subtle than the colossal forces transforming the city. The aim is to offer those materials, wrought into music and sound works, for urban dwellers to deepen, remember, evoke and envision their own ephemeral cities.\n\nThe themes in the project are drawn from urban memory and transformation, psychogeography and the ghosts of the imagined city, aiming to empower a sense of place beyond commercial forces, through the fleeting, subtle and imaginary. There are three questions the artistic works of this project reflect on and address. The first is about the ability of city-dwellers to regain or create some sense of place, history or belonging through the power of their imaginations. The second reflects on the possibility for imagined alternatives to re-empower a sense of place for the people who encounter them. The third seeks out the points where stories, memories, or alternative futures are collective, at what point are they wholly individual, and how the interplay between them plays out in listening.\n\nThere is an improvisatory practice in how we relate to urban environments: an ever- transforming inter-play between the animate and inanimate. Each individual draws phantoms of memory and imagination onto the cityscape, and this yields subtle ways people can be empowered in their surroundings. The artistic works of this project are made to illuminate those subtleties. They are comprised of a group of compositions, improvisations, artistic collaborations and sound installations in music and sound. I have created them utilizing modular synthesizers, field recordings, pipe organs, multi-channel settings; PureData and SuperCollider programs; string ensembles with hurdy-gurdy, nyckelharpa or violin, and; sound installations. This choice of instruments is as an allegory to the architecture of Stockholm. The final result is a collection of music and sound works, made to evoke the imagined city. Taken as a whole, the works of the project create an imaginary city\u2013one possible version of The Ephemeral City\u2013to argue that the evocation of ephemeral space is a way to empower urban dwellers. The mechanism of that empowerment is the force of imagination, immune to the vast forces tearing through the fabric of Stockholm life by virtue of the ghostly, transitory and mercurial, as compelling to the inner eye as brick and mortar to the outer life.\n\nPopul\u00e4rvetenskaplig sammanfattning\n\nKyrkspirorna och tornen p\u00e5 Stockholms horisont blandar sig med radios\u00e4ndningar som flyger ut \u00f6ver staden bredvid privatiserade v\u00e5gl\u00e4ngder, driver ner genom atmosf\u00e4ren och sjunker ner i det \u00f6vergivna underjordiska telefonsystemet. Stockholm har byggnader som funnits d\u00e4r i \u00e5rhundraden, men \u00e4r ocks\u00e5 full av den mest moderna och samtida arkitektur. Allt konkurrerar om sin plats i det kollektiva minnet. Det h\u00e4r konstn\u00e4rliga doktorandprojektet i musik tar upp och omvandlar stadsbildens grundmaterial, skapar bilder av staden, mer subtila \u00e4n de starka krafter som \u00e4r i r\u00f6relse; d\u00e4r staden f\u00f6r\u00e4ndras s\u00e5 snabbt och p\u00e5 ett s\u00e4tt som ofta skapar maktl\u00f6shet. Syftet \u00e4r att erbjuda material, bearbetat till musik och ljudverk, f\u00f6r stadsbor att f\u00f6rdjupa, minnas, frammana och f\u00f6rest\u00e4lla sig sina egna efem\u00e4ra st\u00e4der.\n\n\u00c4mnena i projektet \u00e4r tagna fr\u00e5n urbana minnen och omvandlingar, psykogeografi och andarna i den efem\u00e4ra staden. Syftet \u00e4r att m\u00f6jligg\u00f6ra en upplevelse av tillh\u00f6righet och hemmah\u00f6rande som str\u00e4cker sig bortom kommersiella krafter och ist\u00e4llet framh\u00e5ller det flyktiga, subtila och imagin\u00e4ra. Projektet tar sig an tre fr\u00e5gest\u00e4llningar: Hur kan musik och ljudkonst m\u00f6jligg\u00f6ra ett \u00e5tertagande av tillh\u00f6righet och platsk\u00e4nsla genom kraften i individens fantasi? Hur kan alternativa inre bilder av staden f\u00f6rst\u00e4rka en upplevelse av tillh\u00f6righet och platsk\u00e4nsla? N\u00e4r blir ber\u00e4ttelser, minnen och alternativa framtidsvisioner kollektiva, n\u00e4r kan de delas med andra och n\u00e4r \u00e4r de helt individuella?\n\nDet finns ett improvisatoriskt samspel mellan det levande och det materiella i staden vilket m\u00f6jligg\u00f6r subtila s\u00e4tt f\u00f6r de boende att \u00e5terf\u00e5 inflytande \u00f6ver sin omgivning. De konstn\u00e4rliga verken i det h\u00e4r projektet \u00e4r gjorda f\u00f6r att belysa dessa subtiliteter, centrerade runt ett antal kompositioner, improvisationer, konstn\u00e4rliga samarbeten och ljudinstallationer. Med anv\u00e4ndande av modul\u00e4ra synthesisers, f\u00e4ltinspelningar, piporgel, multikanalupps\u00e4ttningar; PureData- och SuperColliderprogram, str\u00e5kensembler med vevlira, nyckelharpa eller violin och ljudinstallationer. Valet av instrument och material \u00e4r en efem\u00e4r metafor f\u00f6r Stockholms arkitektur. Slutresultatet \u00e4r en samling musik och ljudverk, gjorda f\u00f6r att belysa den imagin\u00e4ra staden. Tagna som en helhet, skapar verken i projektet en imagin\u00e4r stad \u2013 en m\u00f6jlig version av Den Efem\u00e4ra Staden \u2013 f\u00f6r att kunna argumentera att detta frammanande av ett efem\u00e4rt rum \u00e4r ett s\u00e4tt att st\u00e4rka de boende genom fantasins makt, immuna mot de starka krafter som f\u00f6r\u00e4ndrar livet i Stockholm, med hj\u00e4lp av det dr\u00f6mlika, omformande och flyktiga. Lika \u00f6vertygande f\u00f6r det inre \u00f6gat som tegelsten och murbruk \u00e4r i den yttre v\u00e4rlden.<\/jats:p>\n keywords: electroacoustic music, sound art, violin, psychogeography, activism, field recording, organ, improvised music, architecture, urban studies, improvisation<\/jats:p>","DOI":"10.22501\/rc.1361322","type":"posted-content","created":{"date-parts":[[2023,1,5]],"date-time":"2023-01-05T09:03:59Z","timestamp":1672909439000},"source":"Crossref","is-referenced-by-count":0,"title":["The Ephemeral City: Songs for the Ghost Quarters"],"prefix":"10.22501","author":[{"family":"Katt Hernandez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:15Z","timestamp":1759302615000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1361322\/1361323"}},"issued":{"date-parts":[[2023,10,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1361322","published":{"date-parts":[[2023,10,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,1]],"date-time":"2026-03-01T14:58:33Z","timestamp":1772377113368,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,1]],"date-time":"2026-03-01T00:00:00Z","timestamp":1772323200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"JSS Book reviews<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.558982","type":"posted-content","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:24:44Z","timestamp":1733131484000},"source":"Crossref","is-referenced-by-count":0,"title":["JSS Book reviews"],"prefix":"10.22501","author":[{"family":"Journal of Sonic Studies","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,1]],"date-time":"2026-03-01T14:27:42Z","timestamp":1772375262000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/558982\/558983"}},"issued":{"date-parts":[[2026,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jss.558982","published":{"date-parts":[[2026,3,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,2,17]],"date-time":"2026-02-17T13:31:00Z","timestamp":1771335060474,"version":"3.50.1"},"posted":{"date-parts":[[2026,2,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,17]],"date-time":"2026-02-17T00:00:00Z","timestamp":1771286400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Investigating the potentials of expressing lived maternal experiences, through autoethnographic storytelling by using multidisciplinary practices grounded in clay and ceramics. Utilising its malleability, its material meanings and craft histories. Investigating the potentials and strategies of working as an artistic researcher with other mothering people within healthcare and community spaces, as a resistance to further marginalisation of mothering people, and the healing of individual and collective trauma and maternal disempowerment.<\/jats:p>\n keywords: Maternal, Autoethnogrpahy, socially engaged art, Participatory Art, trauma, Mental health, clay, ceramics, Video art, Sculpture<\/jats:p>","DOI":"10.22501\/rc.4014156","type":"posted-content","created":{"date-parts":[[2026,2,17]],"date-time":"2026-02-17T12:47:47Z","timestamp":1771332467000},"source":"Crossref","is-referenced-by-count":0,"title":["Do you hear me now? Expressions of maternal experience through auto-ethnography and the bodily embodiment of clay"],"prefix":"10.22501","author":[{"family":"Corrina Thornton","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,2,17]],"date-time":"2026-02-17T12:47:47Z","timestamp":1771332467000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4014156\/4014157"}},"issued":{"date-parts":[[2026,2,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4014156","published":{"date-parts":[[2026,2,17]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T15:05:26Z","timestamp":1772031926475,"version":"3.50.1"},"posted":{"date-parts":[[2026,2,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T00:00:00Z","timestamp":1771977600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research project revisits the history and material life of Rochelle salt, a synthetic crystal first produced in seventeenth-century La Rochelle from wine lees and salt-marsh residues, and reanimates it through contemporary practice. Born under siege conditions during the French Reformation, Rochelle salt travelled from persecuted Huguenot apothecaries into colonial trade routes, later becoming one of the most powerful early piezoelectric materials used in sonar and crystal microphones. Today, it survives largely as a forgotten precursor, replaced by more stable industrial ceramics.Through laboratory crystal-growing, archival research, and experimental sound practice, I treat Rochelle salt as an endangered conceptual world: a minor material language embedded within dominant technological histories. Growing crystals by hand using early twentieth-century methods, I engage transduction not only as a technical principle\u2014the conversion of pressure into signal\u2014but as an epistemic practice. The crystal becomes both sensor and teacher, revealing how landscapes, persecution, trade, and war sediment into the infrastructures of listening.Against the homogenising tendencies of platform capitalism and algorithmic optimisation, this project foregrounds fragile, situated material knowledges. It asks what forms of innovation emerge when we attend to obsolete or minor technologies rather than maximised systems. By transposing a seventeenth-century salt into contemporary artistic and scientific contexts, Listening with Crystals demonstrates how artistic research can translate subjugated material histories into new sensory and conceptual capacities.In doing so, the project explores how artistic research makes seeable and hearable the sedimented politics of media, offering transduction as a method for working across endangered conceptual worlds.<\/jats:p>\n keywords: crystal, piezoelectric, rochelle salt, landscape, wavefield, listening<\/jats:p>","DOI":"10.22501\/rc.4208192","type":"posted-content","created":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T13:34:51Z","timestamp":1772026491000},"source":"Crossref","is-referenced-by-count":0,"title":["Listening to Landscapes with Crystals"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-5855-5699","authenticated-orcid":false,"family":"Matt Parker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T13:34:51Z","timestamp":1772026491000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4208192\/4208193"}},"issued":{"date-parts":[[2026,2,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4208192","published":{"date-parts":[[2026,2,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,4,27]],"date-time":"2026-04-27T11:37:25Z","timestamp":1777289845637,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2026,4,27]],"date-time":"2026-04-27T00:00:00Z","timestamp":1777248000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2026,4,27]]},"abstract":"See PDF for more details<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.3684587","type":"journal-article","created":{"date-parts":[[2026,4,27]],"date-time":"2026-04-27T10:49:50Z","timestamp":1777286990000},"source":"Crossref","is-referenced-by-count":0,"title":["Unpacking the DAW Experience - File Libary"],"prefix":"10.22501","author":[{"family":"Andreas Waaler R\u00f8shol","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,4,27]],"date-time":"2026-04-27T10:49:50Z","timestamp":1777286990000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3684587\/3684586"}},"issued":{"date-parts":[[2026,4,27]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/uia.3684587","published":{"date-parts":[[2026,4,27]]}},{"indexed":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T07:45:42Z","timestamp":1776757542373,"version":"3.51.2"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/kmd-ar","type":"journal","created":{"date-parts":[[2021,5,31]],"date-time":"2021-05-31T06:08:47Z","timestamp":1622441327000},"source":"Crossref","is-referenced-by-count":0,"title":["KMD Artistic Research"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T07:01:21Z","timestamp":1776754881000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1310123\/1435694"}},"short-title":["KMD-AR"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar"},{"indexed":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T14:13:22Z","timestamp":1777990402945,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2026,5,5]]},"abstract":"Sound diagramming is a visual exploration of sound that expands the act of listening into the audio-visual. Here I analyze diagramming as a method for exploring both un-represented aspects of sound and alternative perspectives of silence and the listening experience. I consider at the work of four artists: Liz K Miller (deconstructing ecological soundscapes); Christine Sun Kim (expressing a relationship with sound); Lawrence Abu Hamdan (the harmful misinterpretation of voice and accent) and Jorinde Voigt (the emotional experience of music composition). Listening with diagrams reveals previously unnoticed sonic details and provides alternative perspectives through which to consider otherwise familiar sound.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.4300637","type":"journal-article","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:28:10Z","timestamp":1777987690000},"source":"Crossref","is-referenced-by-count":0,"title":["Listening with Diagrams: Listening Beyond the Auditory Through the Practice of Sound Diagramming"],"prefix":"10.22501","author":[{"family":"Liz Miller","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:28:11Z","timestamp":1777987691000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4300637\/4300638"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jss.4300637","published":{"date-parts":[[2026,5,5]]}},{"indexed":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T14:11:39Z","timestamp":1779199899757,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/hub","type":"journal","created":{"date-parts":[[2023,6,19]],"date-time":"2023-06-19T06:37:38Z","timestamp":1687156658000},"source":"Crossref","is-referenced-by-count":0,"title":["HUB - Journal of Research in Art, Design and Society"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T13:36:41Z","timestamp":1779197801000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/i2ads.up.pt\/hub"}},"short-title":["HUB"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/hub"},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:25:30Z","timestamp":1725927930560},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"This research is about arranging and performing; how performing my own arrangements affects my performance experience. The inner motivation for performing and sharing music with an audience has always been there when I felt a strong connection with the piece. \nWhat if I could play and share every piece of music if I feel a special connection, no matter the limits of the original instrumentation? How do I \u2018arrange\u2019 this for myself, for cello? And how does performing my own arranged piece influence myself on stage? And how does my audience perceive this performance? \n\nThe research involved two phases where each one involved an arranging process followed by a performance. For the intervention, the method involved using a questionnaire and feedback forms to gather internal and external feedback. The internal feedback was about my own experience of performing my own arrangement, and the external feedback included the reactions of the audience and experts on my performances. \n\nIt turned out that performing my own arrangements, did have a positive influence on my performance experience for both myself as performer (internal) and for my audience (external). Because of the special connection with the pieces, the inner motivation to share the music was leading and resulted in more self-confidence on stage and authentic performances, even though I experienced more vulnerability than normal.\n\nAn additional spin off in this research was that when bringing my own arrangements to my main subject lessons, the lesson dynamic changed and these lessons were amongst the most important lessons for my development as a musician. \n\nWhat I learned from this research was that making myself able to play pieces that I love makes me happy in my practise room and on stage. I believe this could be a useful key for other performers. Making your own music, or versions and arrangements of existing repertoire can help a musician to feel autonomous, happy, and convinced about their own playing and will result in a positive performance experience.<\/jats:p>","DOI":"10.22501\/koncon.1537333","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:29Z","timestamp":1725921509000},"source":"Crossref","is-referenced-by-count":0,"title":["Arranging and Performing"],"prefix":"10.22501","author":[{"family":"Wilma de\u00a0Bruijn","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:29Z","timestamp":1725921509000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1537333\/1537334"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1537333","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:21:25Z","timestamp":1725927685323},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"Long story short\t\nIn this research exposition, I would like to invite the reader on a journey of discovery in the field of classical music presentation. Over the last 50 years there have been many suggestions on how to allow the professional field of classical music to develop alongside its time and people.\nTo get a new perspective on the topic, I approach ASMR as a connected topic, investigate it under the aspect of listening and then make a transfer to my professional practice. ASMR stands for autonomous sensuous meridian response and is describing a special kind of sensory perception. I study ASMR as way of perception and as well as a YouTube \/ media phenomenon. \nMy research question is:\n What can I learn from ASMR (about contemporary audience\u2019s perception of sound) and how can I integrate this in my artistic practice?\nWhen I talked to colleagues or teachers from a classical music context, ASMR appeared to them at first as something bizarre and insignificant. Still, it has millions of followers on the internet. A large number of followers is not necessarily an indicator of artistic quality, but it can certainly be an argument to arouse curiosity. After all, the number of followers towards a subject does say something about its appeal or the ability to grasp people.\nBy comparing ASMR to synaesthesia, I want to focus on perception and sensuousness but also explore common traits and differences of the two phenomena as both neurological phenomenon and the social (artistic) movement.\nAn analysis and five experiments involving technological and dramaturgical tools often used in ASMR, leads to the final chapter: the artistic implementation. During the two years of my master studies, I designed two performance concepts, in which I applied the insights I gained throughout this research. A documentation of the process and a more elaborate explanation of the concept are to be found in chapter 4. \nIn the end of this exposition, I summarize the conclusions of the research I made on a general and on a personal level.\nIn order to acquire more information as well as a wider view, I have reached out to literature within the fields of sociology, (social) history, psychology, neuroscience and philosophy . During my years of studies in music, music pedagogic, historical and innovative performance practice, I quenched my thirst for knowledge about the past and now I am hungry to learn about the now and the future.<\/jats:p>","DOI":"10.22501\/koncon.1555615","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:37:37Z","timestamp":1725874657000},"source":"Crossref","is-referenced-by-count":0,"title":["The Feeling of Sound: Music Curating, Performing and Connecting with and through Music"],"prefix":"10.22501","author":[{"family":"Laura Sophie\u00a0von\u00a0der\u00a0Goltz","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:27Z","timestamp":1725921507000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1555615\/1555616"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1555615","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T14:24:07Z","timestamp":1648823047952},"posted":{"date-parts":[[2018,6,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.297588","type":"posted-content","created":{"date-parts":[[2018,6,10]],"date-time":"2018-06-10T15:21:08Z","timestamp":1528644068000},"source":"Crossref","is-referenced-by-count":0,"title":["Crafting Context: An Inquiry into the Art of Curating Music Performance"],"prefix":"10.22501","author":[{"family":"Imogen Cooney","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2018,6,21]],"date-time":"2018-06-21T17:59:53Z","timestamp":1529603993000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/297588\/478640"}},"issued":{"date-parts":[[2018,6,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.297588","published":{"date-parts":[[2018,6,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,10,23]],"date-time":"2024-10-23T04:26:30Z","timestamp":1729657590937,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2024,10,22]]},"abstract":"Skolbrandsarkeologi (\u201cSchool Fire Archaeology\u201d) is an artistic excavation (2022\u20132026) of Sl\u00e4ttg\u00e5rdsskolan in Sk\u00e4rholmen, Stockholm, led by artist Patrick Kretschek. The art project uses contemporary archaeology, participatory art, and documentary methods to explore the aftermath of the June 1, 2020, school fire. It combines text, photography, film, and artifacts to narrate the event through testimonies from students, teachers, parents, and the public. Exhibited locally at culture house FOLK in Sk\u00e4rholmen, it offers a space for reflection on loss, memory, and reconstruction.<\/jats:p>","DOI":"10.22501\/vis.2408643","type":"journal-article","created":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T18:48:09Z","timestamp":1729622889000},"source":"Crossref","is-referenced-by-count":0,"title":["Skolbrandsarkeologi"],"prefix":"10.22501","author":[{"family":"Patrickretschek","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T18:48:10Z","timestamp":1729622890000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2408643\/2408644"}},"issued":{"date-parts":[[2024,10,22]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/vis.2408643","published":{"date-parts":[[2024,10,22]]}},{"indexed":{"date-parts":[[2024,12,19]],"date-time":"2024-12-19T05:19:54Z","timestamp":1734585594278,"version":"3.30.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,12,29]]},"abstract":"Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] \u201cthe theatre of all my struggles and all my ideas.\u201d As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that \u2018theatre\u2019 to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around \u2018greenhouse\u2019 as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers \u2018indirections\u2019 urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that \u2018theatre-laboratory\u2019 with you\u2014the reader and exposition visitor\u2014the actors look for cues that encourage further procedures of experimentation and reflexion.<\/jats:p>","DOI":"10.22501\/jar.1061702","type":"journal-article","created":{"date-parts":[[2020,12,29]],"date-time":"2020-12-29T12:13:22Z","timestamp":1609244002000},"source":"Crossref","is-referenced-by-count":0,"title":["Methods of Indirection: a trialogue between Patrizia Bach, Howard Eiland, and Luis Berr\u00edos-Negr\u00f3n about Walter Benjamin and translating The Arcades Project"],"prefix":"10.22501","author":[{"family":"Luis Berr\u00edos-Negr\u00f3n","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Patrizia Bach","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Howard Eiland","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,12,18]],"date-time":"2024-12-18T09:50:46Z","timestamp":1734515446000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1061702\/1076294"}},"issued":{"date-parts":[[2020,12,29]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jar.1061702","published":{"date-parts":[[2020,12,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:15Z","timestamp":1727238675611},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2011,11,20]]},"abstract":"The exposition opens up the artist\u2019s investigations into the historical figure Ellen Gates Starr, co-founder of the Hull House, a settlement house in Chicago, Midwest United States. Reflecting on the life and work of Gates Starr and on the artist\u2019s own works inspired by these, a particular focus of the exposition is the link between artistic mark making and political practice. By way of close reading and research, the artist excavates Starr\u2019s artistic practice and writing, to explore how artistic mark making informed by Starr\u2019s praxis might come to shed some light on our contemporary situation. The exposition also reconsiders some of the politics at stake for the Arts and Craft movement.<\/jats:p>","DOI":"10.22501\/jar.11423","type":"journal-article","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T22:37:03Z","timestamp":1497998223000},"source":"Crossref","is-referenced-by-count":0,"title":["Taking the Book Apart"],"prefix":"10.22501","author":[{"family":"Sarah Alford","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:29Z","timestamp":1727193269000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/11423\/11424"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/jar.11423","published":{"date-parts":[[2011,11,20]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:15Z","timestamp":1727238675952},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,6,15]]},"abstract":"This paper is about finding relationships within my own composition process, how these relate to my relationships with the world around me, and how these impact the music that I make. In this paper I will touch on how my work has been influenced by psychogeography, making music about locations, and my experiences working in community arts. I will discuss my influences from the work Situationists International and later psychogeographic explorations, the community art world in Toronto, discussing how they have influenced my composition process and how the relationships between people, places, and sound play into the music that I compose, and the musical worldviews that helped me shape these influences into my own work. I will further explore, specifically, a part of my process which involves the setting up of situations in which music occurs as part of my compositional practice, discussing how the situation in which music is being made impacts that music, and how the music can impact the situation, finding reciprocity within these musical relationships.<\/jats:p>","DOI":"10.22501\/koncon.1926772","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:55Z","timestamp":1725921415000},"source":"Crossref","is-referenced-by-count":0,"title":["Composing Situation: An approach for understanding and repeating a musical practice"],"prefix":"10.22501","author":[{"family":"Arie Verheul van de Ven","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:26Z","timestamp":1727193326000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1926772\/1926773"}},"issued":{"date-parts":[[2023,6,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1926772","published":{"date-parts":[[2023,6,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:25Z","timestamp":1727238685591},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,12,31]]},"abstract":"In this exposition on the peripheries of medicine and art I will enrole the concept of my project \"Lycanthropus erythematosus\" and the applied strategies of artistic research.\nThe essence of the work is the proposal of a new thesis concerning the understanding of autoimmune diseases, especially of Systemic Lupus Erythematosus (SLE, lupus).\nSLE is a rare autoimmune disease characterised by acute and chronic inflammation of various tissues of the body. Its cause and pathogenesis are still unknown. \n The work aims at providing new knowledge in regard to these open questions. Its thesis is exposed in different formats resulting from different strategies of artistic research. It proposes to understand autoimmunity as the expression of transformative processes that cause various physical and mental effects in the afflicted organism. This ongoing metamorphosis is driven by a plan: it is about the emerging of a new being \u2013 the Lycanthropus erythematosus.<\/jats:p>","DOI":"10.22501\/ruu.607127","type":"journal-article","created":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T10:39:10Z","timestamp":1577788750000},"source":"Crossref","is-referenced-by-count":0,"title":["LYCANTHROPUS ERYTHEMATOSUS I \u2013 Artistic Research on the Edge. Poetical Investigations on the Margins of Medicine and Mythology"],"prefix":"10.22501","author":[{"family":"Barbara Macek","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:43Z","timestamp":1727193703000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/607127\/607337"}},"issued":{"date-parts":[[2019,12,31]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/ruu.607127","published":{"date-parts":[[2019,12,31]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:27Z","timestamp":1727238687828},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2023,9,15]]},"abstract":"This master's thesis is on incorporating elements of traditional music, specifically Raga Bhairav and Bhairavi, into contemporary music production. The thesis investigates how these elements can enhance the signature sound of modern compositions and impact the composer's artistic expression. The research questions explore the advantages and challenges of integrating traditional music elements into modern compositions and advocating cultural exchange and understanding. The thesis will use artistic development work, which combines artistic endeavors and scholarly research, as its method. The aim is to ensure the highest quality of artistic practice, meeting the same quality standards and academic achievements as other scientific activities. This study will provide insight into the potential impact of raga scales on modern compositions and contribute to the ongoing discourse on incorporating traditional music into contemporary music production.<\/jats:p>","DOI":"10.22501\/uia.2085422","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:10Z","timestamp":1727194090000},"source":"Crossref","is-referenced-by-count":0,"title":["How can elements of raga music influence a signature sound?"],"prefix":"10.22501","author":[{"family":"Harsha Jerome Senaviratne","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:12Z","timestamp":1727194092000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2085422\/2085423"}},"issued":{"date-parts":[[2023,9,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.2085422","published":{"date-parts":[[2023,9,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:27Z","timestamp":1727238687962},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2014,10,13]]},"abstract":"Materiality concerns the relationship between humans and the physical world. This study explores the relationship between materiality and material-based art through an art project created together with nurses working in a ward for elderly patients in a mental health care facility. In this study, the material physicality activated the bodily senses and unlocked the memories of the participants. The materialization of the art objects was related to communication both in art-based research methods and in the hospital practice by contributing in a special way to the dialogue with sensory presence and tactile resonance.<\/jats:p>","DOI":"10.22501\/ruu.63379","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:42Z","timestamp":1503649482000},"source":"Crossref","is-referenced-by-count":0,"title":["Tactile Resonance in Art"],"prefix":"10.22501","author":[{"family":"Arild Berg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:46Z","timestamp":1727193886000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/63379\/63380"}},"issued":{"date-parts":[[2014,10,13]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/ruu.63379","published":{"date-parts":[[2014,10,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:30Z","timestamp":1727238690564},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2024,6,25]]},"abstract":"In this thesis, I explore and research songwriters' experience of using artificial intelligence as a songwriting tool. To do so, three participants have explored the use of two different artificial intelligence tools in their songwriting session, in collaboration with me. One of the tools is used to inspire lyrical writing and one is to create a starting point for chord progressions. To gather data, I have had three collaborative songwriting sessions, where the artists and I use the tools whilst writing a song for their artist project. As well as the sessions, there was held six qualitative interviews, two per artist. The first one was for documenting their prior experience and expectations. The second interview was held after they had received a produced demo. This was used to ask about their experiences writing songs with artificial intelligence. We also talked about the song related to ownership. The thesis questions whether artificial intelligence will make one more productive, too productive, or even if the tools can be perceived as distracting.\n\nIn addition to using Artificial Intelligence in three different songwriting sessions, I have researched the ethical dilemmas with using AI, such as copyright infringements, and discussing options for opting out of having one\u2019s work be a part of the training of an AI.\n\nMy personal journey highly inspires the thesis through using artificial intelligence for my musical project. By using the same process as the three participants are taking part in, my debut EP, Sugarcoated, was created.\n\nThis thesis is approved by SIKT (816719).<\/jats:p>","DOI":"10.22501\/uia.2736341","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:07Z","timestamp":1727194087000},"source":"Crossref","is-referenced-by-count":0,"title":["Songwriting and AI"],"prefix":"10.22501","author":[{"family":"Celine Lyng","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:07Z","timestamp":1727194087000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2736341\/2736342"}},"issued":{"date-parts":[[2024,6,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.2736341","published":{"date-parts":[[2024,6,25]]}},{"indexed":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:40:26Z","timestamp":1732642826771,"version":"3.28.2"},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u2018The Kipper and the Corpse\u2019 (TK&C) borrows its title from an episode (March 1979) of the sit-com Fawlty Towers. Whipps\u2019s TK&C research draws attention to both the social changes wrought by Thatcherism and prevailing media attitudes of the time. 1979 was pivotal for UK manufacturing as the then conservative government sought to undermine labour unions. Against this historical backdrop, the project raises questions about how the living memory of the pre-neoliberal world can be accessed and re-engaged with to bring about a collaborative understanding of present-day discourses around the politics and economics of labour. TK&C also offers a novel approach for paticipative creative activity, inverting the more normal artist-led working method. \n\nTK&C is a unique community-based art project that included the restoration of a 1275GT Mini made in Longbridge in 1979. Through the process of restoring the car, Whipps worked with several Longbridge ex-employees with car production and engineering expertise, social historians, sociologists, and anthropologists. These participants brought specialist knowledge and vocational skills to bear, positioning the artist\/researcher, Whipps, as the novice. This reversal of roles destabilised the standard researcher - participant relationship allowing for the emergence of more participative forms of knowledge production and transfer. This form of collaboration encouraged multiple audiences, from beyond the art world, to engage with the underlying context used by the project.\n\nThe practical outcomes of TK&C were augmented by information gathered from records at Warwick University, British Motor Museum archives, oral histories, media representations of British Leyland (sitcoms, political cartoons, tabloid newspapers) and photographic documentation. \nThe project has been supported by Longbridge Public Art Project (LPAP) and featured in contemporary art exhibitions, including touring venues such as the British Art Show 8 (2015-2017), the IKON Gallery (2019), and internationally at Fabra i Coats: Contemporary Art Centre of Barcelona (2020).<\/jats:p>","DOI":"10.22501\/rc.936714","type":"posted-content","created":{"date-parts":[[2021,2,19]],"date-time":"2021-02-19T14:16:24Z","timestamp":1613744184000},"source":"Crossref","is-referenced-by-count":0,"title":["Kipper and the corpse"],"prefix":"10.22501","author":[{"family":"Stuart Whipps","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:09:12Z","timestamp":1732640952000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/936714\/936715"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.936714","published":{"date-parts":[[2020,12,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T20:40:23Z","timestamp":1730925623221,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"33","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,11,5]]},"abstract":"This artistic research exposition unfolds the shared work between Australian composer Liza Lim and Swedish violinist Karin Hellqvist, from the viewpoint of Hellqvist as performer and co-creator. Together, the artists have created the violin solo work One and the Other (Speculative Polskas for Karin) (2021\u201322). The Swedish folk music tradition that Hellqvist has carried with her since her childhood, and especially the polska dance, serves as their point of departure. This tradition resides in Hellqvist\u2019s body and performance practice as embodied knowledge \u2013 a term introduced by Maurice Merleau-Ponty (1962), and it becomes their main path of research. A central concept in the reflections is the \u2018artistic palette\u2019 \u2013 a concept created by Hellqvist to conceptualise the skills and abilities used in creative work. Hellqvist\u2019s embodied knowledge connected to the tradition is woven into the work through explorations of elements as the specific pulse of the polska and its ornamentation. Furthermore, those embodied skills are explored as decoupled in the third movement, capturing indeterminate aspects. The main question addressed is how the embodied knowledge of Hellqvist\u2019s artistic palette serves as resource and inspiration in the shared process and how it affects the ontology of One and the Other (Speculative Polskas for Karin).\n\nTopics of distributed creativity, shared work as mycelial structure, instrument-building, ownership, and temporal ecology are being unpacked in the light of the artistic palette. The artistic research exposition unfolds a compositional process whereby the performer is participating actively, thus problematising the view of where creativity may be located in compositional work. It comprises written reflections, audio examples, pictures, and video material from the creative process as well as a video of the whole work. The research context comprises historical and aesthetic perspectives, as well as recent research on performer creativity and embodiment.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n\n<a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&file=2959705\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.1865089","type":"journal-article","created":{"date-parts":[[2024,8,7]],"date-time":"2024-08-07T12:06:39Z","timestamp":1723032399000},"source":"Crossref","is-referenced-by-count":0,"title":["At the Knot of Presence: Weaving with the embodied knowledge of my artistic palette in Liza Lim's One and the Other (Speculative Polskas for Karin)"],"prefix":"10.22501","author":[{"family":"Karin Emilia Hellqvist","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T20:25:16Z","timestamp":1730924716000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1865089\/2949362"}},"issued":{"date-parts":[[2024,11,5]]},"references-count":0,"journal-issue":{"issue":"33"},"URL":"https:\/\/doi.org\/10.22501\/jar.1865089","published":{"date-parts":[[2024,11,5]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:45Z","timestamp":1727238645967},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2020,2,27]]},"abstract":"My artistic research project at the Norwegian Academy of Music aims to highlight the role of the harpsichord player and the interpretation of basso continuo in G. F. Handel\u2019s continuo cantatas \u2013 i.e. cantatas for one voice with continuo accompaniment only. How the continuo realization is shaped in performance of this repertoire is crucial to the overall sound since there are no other obbligato instruments, unlike in the instrumental cantatas. A wide range of possible solutions emerge in the intersection between improvisation, composition, imagination, and speculation within a source-oriented approach. To give these cantatas a musical guise that is rarely heard among performer\u2019s today, I focus on an advanced and soloistic harpsichord continuo that includes different use of imitation, counterpoint, harmonic additions, \u2018duet-making\u2019 with the vocal part and other rarely heard features; inspired by certain German 18th-century continuo treatises such as Heinichen\u2019s Der Generalbass in der Composition (Dresden, 1728), Mattheson\u2019s Grosse Generalbass-schule (Hamburg, 1731) and Daube\u2019s General-Bass in drey Accorden (Leipzig, 1756) in addition to several preceding Italian(ate) and English sources, as well as idioms from Handel\u2019s own keyboard music.\n \nThere are frequently significant discrepancies between how historical sources describe basso continuo playing and how today\u2019s harpsichordists interpret and perform their part within the context of the HIP-movement. In the last decades, two contrasting approaches stand out: those who accompany discretely with few parts and a transparent accompaniment: unofficially nicknamed \u2018Softies\u2019; and those who play generally fuller: \u2018Loudies\u2019 \u2013 from which my project receives its title.\n\nWith this project, I aim to deepen the understanding of the discipline of continuo playing and to develop realizations that go beyond mere chordal playing often heard today in a much-neglected repertoire by one of the greatest composers of the Baroque era. Hopefully, this will challenge existing views and conventions among several branches of today\u2019s early music community, where strong performers and personas foster strong opinions.<\/jats:p>","DOI":"10.22501\/nmh-ar.751373","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T12:31:10Z","timestamp":1618317070000},"source":"Crossref","is-referenced-by-count":0,"title":["Releasing the 'Loudie'"],"prefix":"10.22501","author":[{"family":"Christian Kjos","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:29Z","timestamp":1727194109000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/751373\/751374"}},"issued":{"date-parts":[[2020,2,27]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.751373","published":{"date-parts":[[2020,2,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:45Z","timestamp":1727238645153},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,3,20]]},"abstract":"Verena Miedl-Fai\u00dft (Center Research Focus, PhD candidate PhD in Art) invites us with \"Await what the stars will bring\" to walk through her artistic research trajectory. Her contribution poetically narrates on longings, and on beautiful and painful experiences in connection with her artistic practice and collaborative work with her nephew L. Based on Donna Haraway\u2019s concept of kinship, Miedl-Fai\u00dft searches for possibilities of relating to each other and seeks ways to make inner processes accessible. The contribution provides insights into her work with children and colleagues and how she creates \u201cmaterialized relations, co-creations objecting time, space, and loneliness.\u201d<\/jats:p>","DOI":"10.22501\/repos.1841013","type":"journal-article","created":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T10:39:27Z","timestamp":1679308767000},"source":"Crossref","is-referenced-by-count":0,"title":["Await what the stars will bring or moulding the gap"],"prefix":"10.22501","author":[{"family":"Verena Miedl-Fai\u00dft","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:59Z","timestamp":1727193959000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1841013\/1841014"}},"issued":{"date-parts":[[2023,3,20]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/repos.1841013","published":{"date-parts":[[2023,3,20]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:47Z","timestamp":1727238647002},"posted":{"date-parts":[[2024,8,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"On February 19th 2024 took place the 2nd seminar, \"Illustrating the absence\" of the project \"[in]visible - [in]visibility of identities in Portuguese 1st-grade elementary textbooks of Social & Environmental Studies after 1974\", at the Faculty of Fine Arts of the University of Porto (Portugal). For the reflection, illustration and critical analysis of the illustration works, there was the participation of the Master's in Illustration, Edition and Print students with the illustrator J\u00falio Dolbeth and the [in]visible team. Cristina Ferreira and Margarida Dias took the photos, and the session was recorded with audio.<\/jats:p>","DOI":"10.22501\/i2ads.2628604","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T15:36:15Z","timestamp":1725550575000},"source":"Crossref","is-referenced-by-count":0,"title":["[in]visible_illustrating the absence"],"prefix":"10.22501","author":[{"family":"Margarida Dias","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Catarina Casais","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:17Z","timestamp":1727194157000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2628604\/2628605"}},"issued":{"date-parts":[[2024,8,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.2628604","published":{"date-parts":[[2024,8,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:47Z","timestamp":1727238647714},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2024,6,7]]},"abstract":"This exposition details the opening phase of new research between an experimental sound artist and an archaeologist, with a detailed examination of critical epistemological questions that have arisen from the beginning of this project. Both collaborating researchers are situated within hybrid specialisations. As the project unfolds, archaeo-chemical data is explored and animated through methods developed from intersections of data science and musical practice, resulting in performance and installation environments in which knowledge of material culture of the ancient past may be made present through listening. However, beyond a case study, this exposition points to how interdisciplinary artistic work produces results that have value outside of normative paradigms for any of the fields from which it is derived, while offering critical insight about those fields. This exposition is formed of these insights. Readers are introduced to the structure of the data, its relationship to the materiality of the artefacts described, the technological apparatus and compositional methodology through which the data is sonified, and the new materiality of the resulting artistic experiences.\n\nSonification exists at a nexus of sound production and listening, interwoven with information. Meaning and interpretations arise from artistic decisions concerning sound composition and the context for listening to take place. Meanwhile, listening teaches us about data and about the physical and cultural spaces into which we project it. In this way, sonification is always already interdisciplinary.<\/jats:p>","DOI":"10.22501\/hub.2322814","type":"journal-article","created":{"date-parts":[[2024,6,7]],"date-time":"2024-06-07T11:36:43Z","timestamp":1717760203000},"source":"Crossref","is-referenced-by-count":0,"title":["Listening Into the Lattice"],"prefix":"10.22501","author":[{"family":"Jorge Boehringer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:25Z","timestamp":1727194165000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2322814\/2322815"}},"issued":{"date-parts":[[2024,6,7]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/hub.2322814","published":{"date-parts":[[2024,6,7]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:47Z","timestamp":1727238647725},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2022,3,14]]},"abstract":"This research, developed in Amsterdam during the repeated courses of lockdown between 2020 and 2022, examines the powers and limitations of fantasy. Processing the mental and ideological undercurrents in Europe, the text describes a trajectory where the visual artist appropriates the role of a poet to explore the possibilities for change and movement in isolation. As thinking, reading and writing alters the protagonist, the appropriating artist becomes appropriated by language. The gradual blending with the observed subjects raises questions about the distinction between the internal and external.<\/jats:p>","DOI":"10.22501\/vis.1278261","type":"journal-article","created":{"date-parts":[[2022,3,14]],"date-time":"2022-03-14T12:04:41Z","timestamp":1647259481000},"source":"Crossref","is-referenced-by-count":0,"title":["Ta Form"],"prefix":"10.22501","author":[{"family":"Klara Waara","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:50Z","timestamp":1727194130000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1278261\/1278303"}},"issued":{"date-parts":[[2022,3,14]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/vis.1278261","published":{"date-parts":[[2022,3,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:19Z","timestamp":1727238679820},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"Name: Martje van Damme\n\nMain Subject: Classical Piano\n\nResearch Supervisor: Stefan Petrovic \n\nTitle of Research: Deliver the meaning \u2013 Performance expression in a physical shape\n\nResearch Question: How are physical movements related to the expression in music?\n\u00a0\nSummary of Results: \nDuring a performance I am aware of the meaning and ideas of the music and as a pianist I aim to deliver that meaning to the audience. The physical movements of the performer also have a strong influence on the way that meaning is perceived by the listeners. One of my main aims is to achieve a unity between my physical movements and expression, as well as a certain freedom and flexibility of my physical approach to piano playing. Over the course of this research I conducted experiments with various excerpts of the pieces I play, all of which represent a significant transition within the piece. These experiments gave me a good overview of what the influence of the physical movement is in relation to the expression and perception of a performance. What I observed from these experiments, reflecting on my aims, is that moving out of my comfort zone and expressing the meaning of the music, also by more exaggerated physical movements, made me feel free. It helped me discover new possibilities of playing and interpreting the music. Secondly, I realised that, by embedding musical ideas in my physical movements, technically challenging passages were not that difficult anymore. They became subservient to the musical ideas and character of the music. Thirdly, the exaggeration of physical movements sometimes created breathing space on very different spots compared to my usual way of playing. In these moments, I suddenly became more flexible. Finally, this process made me aware of the fact that my personal experience and the perception of the audience often differ widely. As a result of this inquiry, I am now more aware of the opportunities to express ideas that lead to a convincing performance.\n\nBiography: \nMartje van Damme was born in Kampen, the Netherlands. She began her piano studies at the age of nine. In 2006, she enrolled into the \u201cAcademie voor Muzikaal Talent\u201d in Utrecht, studying with Henk Ekkel. She took part in the Sommercourse Musik Zentral in Bad Aussee, Austria, several times. In 2011 she was participant during the Perpetuum Mobile Competition in Hilversum, where she won the second prize. She has participated in masterclasses from Martyn van den Hoek, David Kuyken, Kl\u00e1ra W\u00fcrtz, Andreas Woyke, Kamilla Bystrova, Helen Grizos and Dmitri Paperno. She has completed her BMus, studying with Paolo Giacometti at the Robert Schumann Musikhochschule in D\u00fcsseldorf. Together with the mezzo-soprano Eva Marti, she twice won the third prize during the Schmolz und Bickenbach Chambermusic Competition. She participated during the URIM (liedduo masterclasses) in Brussels and received lessons from Anne Sofie von Otter, Christianne Stotijn, Eildert Beeftink and Julius Drake. Currently she is pursuing her master\u2019s degree with David Kuyken at the Royal Conservatoire in The Hague.<\/jats:p>","DOI":"10.22501\/koncon.301722","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:44:05Z","timestamp":1725921845000},"source":"Crossref","is-referenced-by-count":0,"title":["Deliver the meaning - Performance expression in a physical shape"],"prefix":"10.22501","author":[{"family":"Martje van damme","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:28Z","timestamp":1727193448000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/301722\/301723"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.301722","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:20Z","timestamp":1727238680063},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,11,29]]},"abstract":"This exposition discusses the possibility of embracing an expanded notion of life, a zoe-centred egalitarianism, as proposed by Rosi Braidotti, in order to envision a liveable future on the planet and the utopian potential in the act of calling for an imaginary creature, a dragon, using as examples some video works created in 2012-2013 and retuned to in 2019.<\/jats:p>","DOI":"10.22501\/ruu.1112890","type":"journal-article","created":{"date-parts":[[2021,11,29]],"date-time":"2021-11-29T12:44:43Z","timestamp":1638189883000},"source":"Crossref","is-referenced-by-count":0,"title":["Calling for Zoe as a Utopian Gesture"],"prefix":"10.22501","author":[{"family":"Annette Arlander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:31Z","timestamp":1727193571000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1112890\/1112891"}},"issued":{"date-parts":[[2021,11,29]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1112890","published":{"date-parts":[[2021,11,29]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:08Z","timestamp":1727194208283},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,2,8]]},"abstract":"Integrated musical experiences have long existed, previous to and outside of the traditional concert music setting. Interdisciplinary approaches to performance creation are becoming more accepted and more common in academic music contexts. This research asks the question \"How does the concept of embodiment serve the creation of interdisciplinary work within a musical context?\", examined through the lens of definitions of embodiment, spinning, technology, community, and inter\/multidisciplinary vs. intermediality and expanded through case studies of two of the author's recent performance works.<\/jats:p>","DOI":"10.22501\/koncon.299025","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:43:20Z","timestamp":1725921800000},"source":"Crossref","is-referenced-by-count":0,"title":["Concepts of Embodiment in Interdisciplinary Work Within a Musical Context"],"prefix":"10.22501","author":[{"family":"Sarah Albu","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:19Z","timestamp":1727193439000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/299025\/299026"}},"issued":{"date-parts":[[2019,2,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.299025","published":{"date-parts":[[2019,2,8]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:08Z","timestamp":1727194208573},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,6,17]]},"abstract":"This paper is concerned with ecological awareness in multimedia composition often with the use of data as a compositional tool. It covers the philosophy of ecological awareness I wish to represent in my work and the aesthetic principles used to portray it. The philosophy is largely based on Timothy Morton\u2019s Dark Ecology with influence from other writers and artists. The reader will be guided through my methodologies of multimedia composition (acoustic, electronic and visual), in four different works. The motivation behind this research has come from wanting to engage with environmentalism not just through writing and individual actions but through art and how understanding the importance of perception of the environment can change our behaviour to it.<\/jats:p>","DOI":"10.22501\/koncon.1592116","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:50Z","timestamp":1725921530000},"source":"Crossref","is-referenced-by-count":0,"title":["ECOGNOSIS: Ecological Awareness in Multimedia Composition"],"prefix":"10.22501","author":[{"family":"Richard Hughes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:03Z","timestamp":1727193363000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1592116\/1592117"}},"issued":{"date-parts":[[2022,6,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1592116","published":{"date-parts":[[2022,6,17]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:03Z","timestamp":1727196003511},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Anna Walker\nMain Subject: Classical Singing\nResearch Coaches: Yvonne Smeets and Ami Shamir\nTitle of Research: Craniosacral Therapy and Singing\nResearch Question: How can craniosacral therapy be relevant in helping singers free up their voices and overcome physical obstructions to make them better performers?\nResearch Process: My goal was to understand more about why craniosacral therapy (CST) has helped my singing so much and to find out whether it could also help other singers become freer artists on stage. Studying literature by osteopaths and CST therapists such as John Upledger, Michael Shea, David McFarland and Michael Kern has given me insight about the nature of CST, its background in osteopathy and some basic knowledge of anatomy. In addition to the theoretical background I used my own journey with CST as an example and looked closely at how CST has helped me. I interviewed my singing teachers Gerda van Zelm and Rita Dams and my osteopath Ami Shamir about my technical and artistic progress and wrote about my own perception of the development. To understand more about how CST and singing could work together I interviewed Hamburg-based singer, singing teacher and CST therapist Stefanie Hoffmann.\nSummary of Results: CST, which has its roots in osteopathy, uses gentle manual techniques to detect and release restrictions that occur in the body as a reaction to trauma (injury, surgery, illness). The rhythm of the cerebrospinal fluid that flows around the brain and the spinal cord, called craniosacral wave, is a stable motion that is not influenced by heart rate or breathing. It is palpable because its waves are transmitted through membranes enveloping all structures of the body (fascia) and can therefore be used to detect areas of restricted movement. Some areas of the body are frequently places of restricted craniosacral movement, e.g. all major transverse\/horizontal structures such as diaphragm, pelvic floor, cranial base and thoracic inlet. These areas happen to be crucial for singing as well. For example a free diaphragm is very important for a singer\u2019s breath support or a free jaw and neck (connected to cranial base and thoracic inlet) are crucial for flexible articulation. CST\u2019s techniques for release of the transverse structures can therefore be highly beneficial for a singer. The body\u2019s numerous functional connections can produce symptoms as a sort of chain reaction in various parts of the body after trauma. CST can help find the cause of the problem and help release the tension by facilitating the body\u2019s own motion. My development as a singer has been greatly supported by CST, because CST was the therapy form which addressed my initial problem (difficult birth, vacuum delivery: pressure on head, neck and spine) at its core, at the level of the nervous system. My body reacted to this treatment with (lasting) structural changes, which have made breathing, articulating and resonating easier for me. CST is certainly a good tool for a singer to become more aware of his\/her body. It can also help a singer whose development is impaired by physical obstacles that pure functional voice training cannot solve.<\/jats:p>","DOI":"10.22501\/koncon.29459","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:49:22Z","timestamp":1725922162000},"source":"Crossref","is-referenced-by-count":0,"title":["Cranio Sacral Therapy and Singing"],"prefix":"10.22501","author":[{"family":"Anna Walker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:33Z","timestamp":1727193513000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/29459\/29460"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.29459","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2024,11,13]],"date-time":"2024-11-13T05:27:28Z","timestamp":1731475648364,"version":"3.28.0"},"posted":{"date-parts":[[2024,11,12]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This Book of Scores presents the standard music notation for the compositions featured in the album 'Portfolio'. Each piece is crafted for solo bass guitar, pushing the instrument's expressive boundaries and revealing its rich polyphonic potential. Through inventive arrangements, these compositions invite bassists to explore new dimensions of solo performance.<\/jats:p>","DOI":"10.22501\/rc.3123228","type":"posted-content","created":{"date-parts":[[2024,11,12]],"date-time":"2024-11-12T14:17:34Z","timestamp":1731421054000},"source":"Crossref","is-referenced-by-count":0,"title":["Book of Scores"],"prefix":"10.22501","author":[{"family":"Fausto Lessa","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,12]],"date-time":"2024-11-12T14:17:34Z","timestamp":1731421054000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3123228\/3123229"}},"issued":{"date-parts":[[2024,11,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3123228","published":{"date-parts":[[2024,11,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:01Z","timestamp":1727194201800},"posted":{"date-parts":[[2019,1,25]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Momentum is an online, cumulative sound art and composition project, created and curated by Nat Grant over the course of 2012-19.<\/jats:p>","DOI":"10.22501\/rc.144068","type":"posted-content","created":{"date-parts":[[2019,1,25]],"date-time":"2019-01-25T22:42:56Z","timestamp":1548456176000},"source":"Crossref","is-referenced-by-count":0,"title":["Momentum: experiential development in sound composition"],"prefix":"10.22501","author":[{"family":"Nat Grant","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:10Z","timestamp":1727192950000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/144068\/144069"}},"issued":{"date-parts":[[2019,1,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.144068","published":{"date-parts":[[2019,1,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202230},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,18]]},"abstract":"Approaching Kunstlieder with the background as a jazz interpreter, has challenged me to find, not only, my interpretation of the lieder\/songs but to also find my interpretation of my role(s) as the singer on stage between classical music and jazz scenes. Through performing music, the chosen body of work, we are not only repeating and interpreting the music but repeating and interpreting ways of performing it. This research focuses on the role(s) of the singer on stage and the moments between the songs; the open space between one piece of music and another that offers the possibility to communicate and connect with the audience. What happens in these moments? What stories do we tell and how do we tell them? What do I communicate with, through, in - and outside of the lied, the song, the piece of music. What do I perform in the open space between between the songs - my self(s)?<\/jats:p>","DOI":"10.22501\/koncon.1424432","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:00Z","timestamp":1725921480000},"source":"Crossref","is-referenced-by-count":0,"title":["The singing Performer: Who am I on stage when not singing?"],"prefix":"10.22501","author":[{"family":"Julia Pallanch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Heloisa Amaral","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:52Z","timestamp":1727193352000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1424432\/1424433"}},"issued":{"date-parts":[[2022,7,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1424432","published":{"date-parts":[[2022,7,18]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:03Z","timestamp":1727194203637},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,8,1]]},"abstract":"A six-part polyphonic setting of the ordinary of the Mass survives as a unicum in manuscript 1967 of the Biblioteca Central de Barcelona, Spain. Although it is clearly the most significant piece in the manuscript, it has received considerably less attention from specialized ensembles than the rest of the repertoire contained therein. This may be due to several factors, chief among them being that the manuscript provides no indication of the composer\u2019s identity. Such anonymity is quite common when dealing with early repertoires. This research aims to address this situation critically and offer several practical, performer-oriented strategies to overcome it.<\/jats:p>","DOI":"10.22501\/koncon.2095407","type":"journal-article","created":{"date-parts":[[2024,8,1]],"date-time":"2024-08-01T11:18:28Z","timestamp":1722511108000},"source":"Crossref","is-referenced-by-count":0,"title":["Auctor incertus: Issues of authorship and anonymity around Missa Inviolata (ca. 1520s)"],"prefix":"10.22501","author":[{"family":"Isaac Alonso de Molina","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:45Z","timestamp":1727193285000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2095407\/2939372"}},"issued":{"date-parts":[[2024,8,1]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2095407","published":{"date-parts":[[2024,8,1]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407065,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0006","type":"journal-article","created":{"date-parts":[[2018,9,27]],"date-time":"2018-09-27T15:23:14Z","timestamp":1538061794000},"source":"Crossref","is-referenced-by-count":0,"title":["Digital Art. Cub@"],"prefix":"10.22501","author":[{"given":"Yara","family":"Guasque","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2017,4,27]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:47Z","timestamp":1742292167000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/digital-art-cub"}},"issued":{"date-parts":[[2017,4,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0006","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2017,4,27]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407361,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0026","type":"report","created":{"date-parts":[[2019,12,27]],"date-time":"2019-12-27T20:56:38Z","timestamp":1577480198000},"source":"Crossref","is-referenced-by-count":0,"title":["Resenha do livro Henk Slager, \"The Pleasure of Research\""],"prefix":"10.22501","author":[{"given":"Jos\u00e9","family":"Quaresma","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,12,26]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:00Z","timestamp":1742292180000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/pt\/resenha-do-livro-henk-slager-pleasure-research-pten"}},"issued":{"date-parts":[[2019,12,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0026","published":{"date-parts":[[2019,12,26]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407380,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0016","type":"journal-article","created":{"date-parts":[[2019,1,18]],"date-time":"2019-01-18T23:29:51Z","timestamp":1547854191000},"source":"Crossref","is-referenced-by-count":1,"title":["Art Epistemology (Project for a Review)"],"prefix":"10.22501","author":[{"given":"Ido","family":"Govrin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2018]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:54Z","timestamp":1742292174000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/art-epistemology-project-review"}},"issued":{"date-parts":[[2018]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0016","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2018]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:08Z","timestamp":1742294408185,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0055","type":"journal-article","created":{"date-parts":[[2022,5,28]],"date-time":"2022-05-28T21:56:10Z","timestamp":1653774970000},"source":"Crossref","is-referenced-by-count":0,"title":["Auf dem Wege zu den Venice Obligations. Eine Rede."],"prefix":"10.22501","author":[{"given":"Florian","family":"Dombois","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2022,5,28]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:22Z","timestamp":1742292202000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/de\/auf-dem-wege-zu-den-venice-obligations-eine-rede"}},"issued":{"date-parts":[[2022,5,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0055","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2022,5,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:20Z","timestamp":1727238620971},"posted":{"date-parts":[[2023,5,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Single channel digital video, with photography and text, 5' 41'', 2007\n\n'Novel' is a half-photography, half-fiction digital video, which was inspired by my temporary dwelling in different cities during the period of a year. For my contribution to this catalogue, I briefly discuss the artistic process and thinking behind the project. In parallel, I reflect upon the possible theoretical links between visuality, narratives, architecture, and urbanism. I suggest that personal associations are definitive and significant in the ways we tend to occupy and subjectively interpret contemporary urban spaces.\n\nAfter a lengthy process of collecting photographs and digital film footage, as well as selecting written material, some of it in the form of quotes, from my journal, I completed the video in 2007. My method was:\n- I made preparatory sketches that I included in the video (film still 1).\n- I used a montage technique I saw in one of Peter Greenaway's films: the separate 'window' on the top or bottom sides of the video (film stills 2, 4, 5) that denotes parallel action.\n- I overlaid photographs (film still 3), a technique that allowed me to create the animating effect of the moving image, without using film footage. \n\nIn painting, the artist can make layers out of collaged material that might be unconnected or purposefully juxtaposed to the painting's subject. Using the above method, I asked the viewer to watch the video more like a moving series of paintings, rather than as a film. \n\nThe video, like my other video art work, was exhibited and archived under my artist's pseudonym, Betty Nigianni.\n\nWritten in 2012, the essay is a separate piece to accompany this exposition.\n\nNote: Please disregard comment I posted about a notification that doesn't appear anymore.<\/jats:p>","DOI":"10.22501\/rc.19655","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:26Z","timestamp":1498067726000},"source":"Crossref","is-referenced-by-count":0,"title":["Novel"],"prefix":"10.22501","author":[{"family":"Zoe Panagiota (aka Betty) Nigianni","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:43:20Z","timestamp":1727192600000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/19655\/19656"}},"issued":{"date-parts":[[2023,5,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.19655","published":{"date-parts":[[2023,5,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:26Z","timestamp":1727238626006},"posted":{"date-parts":[[2021,3,17]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I'M NOT FROM HERE is a journey to the sensory depths of memory, early years of life and associated rituals. A piece of text in two languages (one of which is Lithuanian, the mother tongue and the original language of the text) is presented along with the physical shape of named memories and sensorial experience of the text. 212 km railroad line connecting child's home with adult's one becomes the map of 2 hours 30 minutes lasting journey of thoughts.<\/jats:p>","DOI":"10.22501\/rc.1169567","type":"posted-content","created":{"date-parts":[[2021,3,17]],"date-time":"2021-03-17T10:59:01Z","timestamp":1615978741000},"source":"Crossref","is-referenced-by-count":0,"title":["I'M NOT FROM HERE"],"prefix":"10.22501","author":[{"family":"Greta Pundzaite","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:00Z","timestamp":1727192820000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1169567\/1169568"}},"issued":{"date-parts":[[2021,3,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1169567","published":{"date-parts":[[2021,3,17]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:29Z","timestamp":1727238629245},"posted":{"date-parts":[[2017,5,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Tactile Paths is a native digital, media-rich PhD dissertation. It aims to articulate and expand the nexus of notation and improvisation in contemporary and experimental music. The project interweaves direct artistic experience with insights from improvisation studies, the social sciences, philosophy, and various scholarship in the arts to reveal methodological connections among diverse artists such as Richard Barrett, Cornelius Cardew, Malcolm Goldstein, Lawrence Halprin, Bob Ostertag, Ben Patterson, and the author. By focusing on how notation is used, rather than on what it represents in an abstract sense, the author shows how written scores emerge from and feed back into ongoing improvisational processes. Thus, it is argued, they are not fixed texts whose primary purpose is to prescribe and preserve, but rather tactile paths in the improviser\u2019s ever-crescent musical and social environment. This practice-based approach aims to lay the conceptual groundwork for theorizing and broadening the creative relevance of work whose importance to practitioners belies its marginal presence in academia and institutions.<\/jats:p>","DOI":"10.22501\/rc.100392","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:52:59Z","timestamp":1498067579000},"source":"Crossref","is-referenced-by-count":0,"title":["Tactile Paths: on and through Notation for Improvisers"],"prefix":"10.22501","author":[{"family":"Christopher Williams","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:38Z","timestamp":1727192978000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/100392\/100393"}},"issued":{"date-parts":[[2017,5,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.100392","published":{"date-parts":[[2017,5,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:30Z","timestamp":1727238630845},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,17]]},"abstract":"Chinese art song, a type of Chinese New Music, was a musical genre referring to the songs composed particularly in the 1920s. It is undeniable that it was a product of the real contact and fusion of Chinese and Western cultures.\n\nImagine listening to music like Schubert or Puccini, you may suddenly realise that the language is not German or Italian, but an exotic language (Mandarin, also mixed with different Chinese dialects). Chinese art songs indeed had such characteristics. Its appearance was epoch-making. Before the 19th century, the gate of Chinese traditional culture was closed and self-sufficient, but due to the invasion of Western powers, this gate soon collapsed. Western culture also swept China along with the military trend in the early 20th century, causing earth-shaking changes in China, in which Western music was also introduced into China. Some intellectuals enlightened by modern thoughts and knowledge believed that in addition to learning western military and technology, they should also absorb their philosophy and culture, so that China could rise in all directions and catch up with Western powers.\n\nThe theme of this research revolves around one of the intellectuals (composers) of this period, Huang Tzu (1904-1938) who challenged and responded to the culture shock through composing Chinese New Music. After studying in the United States in 1926, he returned to Shanghai, China. Like the intellectuals at that time, in addition to being proficient in various fields like science, he also dabbled in music. Many of Huang Tzu\u2019s music revolved around the concept of \"nationality\". It refers to an approach: borrowing Western compositional techniques to highlight the values of traditional Chinese aesthetics.\n\nThis research did not aim at describing the characteristics of music or literature in Chinese art songs itself. Yet, it finally allowed me to discover more about how intellectuals dealt with issues of cultural exchange between the East and the West a hundred years ago.\n\nWhat would be the effects if Western music elements, such as harmony, form, techniques and musical instruments were added to the Chinese traditional music language and habits? From a cultural perspective, what significance did this incur?<\/jats:p>","DOI":"10.22501\/koncon.1470280","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:14Z","timestamp":1725921434000},"source":"Crossref","is-referenced-by-count":0,"title":["The Significance of Chinese Art Songs by Huang Tzu (1904 - 1938)"],"prefix":"10.22501","author":[{"family":"Cho Hang Chu, Edmond","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:28Z","timestamp":1727193328000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1470280\/1829278"}},"issued":{"date-parts":[[2023,5,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1470280","published":{"date-parts":[[2023,5,17]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:40Z","timestamp":1727238640364},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Mario Garc\u00eda Cortizo\nMain Subject: Classical and Contemporary Percussion Research Coaches: Anna Scott and Richard Barrett\nTitle of Research: Proposing Live Electronics as an Alternative to Larger Performance Set-Ups\nResearch Question:\nHow can the inclusion of live electronics reduce required equipment while increasing performer efficiency?\nResearch Process:\nAfter deciding on the topic of my research, I began reading and collecting all kinds of information related to the historical relationship between the arts and artists during major social and financial crises of the 20th Century. This included books, websites, journal and magazine articles, and museum exhibitions.\nIn a practical sense, during the first year of the research process I was mainly focused on trying out different things by experimenting with live electronics both in improvised and concert music. For my second year, I have commissioned a new piece involving percussion and live electronics to be performed by composition student Siamak Anvari. I will also be the second person ever to play Hugo Morales\u2019 piece 150pF, \u201cfor body capacitance and amplification system.\u201d This piece involves a new instrument that I built myself, consisting of four jack connectors that are split into a four-channel system. As a complement for the program, I am doing a reduction of Frederic Rzewski\u2019s\nComing Together for one single player and an actress.\nSummary of Results:\nThroughout this text we have seen different proposals that have come out of limitations faced by artists during crisis periods: where creativity is forced to develop in very significant ways in order to keep creating pieces, performances - art that riches everybody, regardless of culture, politics, age, or other aspects. These limitations have provided artists with a lot of new instruments, technologies and techniques: tools that have helped composers and performers to develop new languages and frameworks within which to organize many different materials.\nIs very important to point out that the use of non-conventional instruments and live electronics can be considered when there are limitations, but we do not have to use these resources just because of the presence of a limitation, but rather as a part of an on-going research process that leads us to these resources as part of a particular creative solution. After going through all the practical examples experimented with and contained in this research, we can conclude that live electronics and non-conventional instruments are indeed an alternative to larger performance set-ups, not only when the economic situation is unfavorable, but even as a matter of taste.<\/jats:p>","DOI":"10.22501\/koncon.29799","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:49:58Z","timestamp":1725922198000},"source":"Crossref","is-referenced-by-count":0,"title":["Proposing Live Electronics as an Alternative to Larger Performance Set-Ups"],"prefix":"10.22501","author":[{"family":"Mario Garcia Cortizo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:52Z","timestamp":1727193532000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/29799\/29800"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.29799","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:40Z","timestamp":1727238640169},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,11,30]]},"abstract":"Somatiikka kehitt\u00e4\u00e4 kyky\u00e4 tunnistaa totunnaisia liikkumisen tapoja, ja mahdollisuutta murtautua kohti uusia liikemuotoja. Aistiva tutkimus mahdollistaa uudenlaisia yhteyksi\u00e4 kehon k\u00e4ytt\u00f6\u00f6n sosiaalisen tilan tutkimuksessa.Kutsun ruumiinsosiologian teoriasta ammennettuja harjoituksia sosiaaliseksi somatiikaksi seuraten tutkija Jill Greeni\u00e4 (2015). Sosiaalisen somatiikan keskeinen kohde on yhteiskunnan s\u00e4\u00e4t\u00e4m\u00e4t ruumiilliset sijoittumiset tilaan ja somaattisia harjoitusmuodot, jotka kasvattavat kehon sosiaaliseen tiedostamiseen. \n\nKehon pienist\u00e4 eleist\u00e4 ja kokemuksesta nouseva muutos voidaan n\u00e4hd\u00e4 sosiaalisen tai poliittisen muutoksen mahdollistajana (Manning 2016; Kortelainen 2020). Tarkastelen artikkelissani t\u00e4t\u00e4 kehotietoisuudesta nousevaa, ja jokaisen meid\u00e4n kehoon kytkeytyv\u00e4\u00e4 mahdollisuutta sosiaaliselle muutokselle. Sosiaalisen muutoksen kohteena kulttuurisesti luodut kehon kuvat vaikuttavat merkitt\u00e4v\u00e4sti ihmisten jokap\u00e4iv\u00e4iseen el\u00e4m\u00e4\u00e4n yhteiskunnassa. \n\nSara Ahmedin queer fenomenologian tapaan tarkastelen, kuinka kehon tilallisuus ja kehon suhde objekteihin ja esineisiin vaikuttaa korporeaalisella tasolla siihen, mit\u00e4 keholta odotetaan.<\/jats:p>","DOI":"10.22501\/ruu.1172854","type":"journal-article","created":{"date-parts":[[2021,11,29]],"date-time":"2021-11-29T12:44:27Z","timestamp":1638189867000},"source":"Crossref","is-referenced-by-count":0,"title":["SOSIAALISEN SOMATIIKAN UTOPIA: Ruumiin orientaatio tilassa"],"prefix":"10.22501","author":[{"family":"Ilmari K.","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:28Z","timestamp":1727193568000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1172854\/1172855"}},"issued":{"date-parts":[[2021,11,30]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1172854","published":{"date-parts":[[2021,11,30]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:14Z","timestamp":1727238734583},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2014,9,22]]},"abstract":"This work examines the material entanglements of humans and touch screens. The starting points are Donna Haraway's 'Cyborg Manifesto', read now over twenty years after it was first published, and the figure of a black mirror. The black mirror does not pretend to reflect back only that to which it has been turned. It also shows itself.\n This exposition is a fragmented essay in which the NSA, gendered technologies, manufacturing plants, selfies, new gestures, poor digital images, and self-performing human bodies attach to and collide with one another. I refer to academic as well as popular sources, but I also use my personal experiences and everyday observations as a material. \n One trace of the entanglement of humans and devices is greasy fingerprints on touch screens, hence the name of the exposition. But the entanglements of course go far beyond this \u2013 for instance to the manufacture of the machine and 'responsibility to the entanglements of which we are part' (Karen Barad).[1]\n The exposition is a part of my artistic research on the interplay of human and non-human agencies and the frictions between them. I began my research by examining the intertwinement of clothes and the human body and later also considered other aspects of technology\u2013human relations.\n I conduct my research mainly through writing. Writing is artistic research for me \u2013 in contrast to writing about artistic research, for instance. While more poetic or fragmented research writing is not without problems \u2013 it could be argued to be less falsifiable for instance \u2013 it carries the potential for more frictions within a text, or changing points of view, or different agential collaborations and enactments; all issues that may be in the core of research and that sometimes need to be brought forward in ways departing from more traditional styles of academic writing.\n\n1. Rick Dolphijn and Iris van der Tuin, \u2018Interview with Karen Barad\u2019, in New Materialism: Interviews and Cartographies (Ann Arbor, MI: Open Humanities Press, 2012), pp. 48\u201370 (p.52).<\/jats:p>","DOI":"10.22501\/jar.61876","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T18:25:00Z","timestamp":1492453500000},"source":"Crossref","is-referenced-by-count":0,"title":["Stained Black Mirror"],"prefix":"10.22501","author":[{"family":"Vappu Jalonen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:48Z","timestamp":1727193228000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/61876\/61877"}},"issued":{"date-parts":[[2014,9,22]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/jar.61876","published":{"date-parts":[[2014,9,22]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:19Z","timestamp":1727238739553},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,5,28]]},"abstract":"Name: Raissa Fahlman\nMain Subject: Classical Clarinet\nResearch Coach: Anna Scott\nTitle of Research: A More Sincere Brahms: An Exploration of Widening Expressive Possibilities in the Opus 120 Clarinet Sonatas. \n\nResearch Question: What might documentary and sounding evidence of the performing styles of Johannes Brahms and his contemporaries reveal to modern performers about amplifying expression via increased tempo flexibility in Brahms\u2019s Opus 120 Clarinet Sonatas. Given this evidence, what ideological and practical factors might inhibit modern performers from incorporating this evidence in their own interpretations today? \n\nSummary of Results: \n\n\tThe exploration of documentary and sounding evidence relating to the performance style of Johannes Brahms and his contemporaries reveals much to modern performers about the difference in performance styles between the nineteenth century and our own. The documentary and sounding evidence examined in this research project demonstrates that Brahms and his contemporaries played within a much wider spectrum of expressive possibilities, revealing more\u00a0accelerandi, ritardandi, and independence between voices, than our controlled modern interpretation of Brahms would allow. Ideological and practical factors however discourage modern performers from implementing this evidence into their own performances: pressures of fidelity, authenticity, text-centricity, and the diminished role of performers as compared to composers have all contributed to the constant scrutiny of performers'\u00a0interpretative choices, and have increased the risks associated with performances viewed as expressively licentious.\u00a0\u00a0Practical application of this research via documented performance experiments however shows that modern performers can, when aware of the above historical evidence as well as the ideological pressures they face, implement stylistic tools from the past into modern interpretations of Brahms's works. For my own performances of the Brahms Opus 120 Sonatas, this research project has informed my interpretation, resulting in recordings of increased fluidity of phrasing, a more expansive range of expressive freedom, and an overall stylistic shift towards greater artistic freedom and a natural interpretive flow that is less hindered by societal pressures. My recordings also demonstrate that this research is not only relevant within the Opus 120 Sonatas, but transferrable across all of Brahms\u2019s music. The goal of this research is not only to expand expressivity in my own performances, but to offer this evidence to other performers who may struggle with the question of expressivity when performing Brahms as well.\u00a0\n\nBiography: \n\nRaissa Fahlman is a devoted clarinet soloist, chamber and orchestral musician. She has participated in several world premieres as a member of chamber ensembles, large ensembles and as a featured soloist. Recent musical commitments have included two Long Term Creative Music Residencies at the Banff Centre in Alberta, Canada, where she was an Artist in Residence. Raissa is an alumni of the University of Calgary where she graduated with distinction with a Bachelor of Music degree, and was awarded for excellence in her musical study by twice receiving the XL 103.1 Newcap Award in Music, as well as numerous scholarships for academic excellence. She is currently a masters student at the Koninklijk Conservatorium in The Hague.\u00a0<\/jats:p>","DOI":"10.22501\/koncon.81312","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:49:01Z","timestamp":1725922141000},"source":"Crossref","is-referenced-by-count":0,"title":["A More Sincere Brahms: An Exploration of Widening Expressive Possibilities in the Opus 120 Clarinet Sonatas."],"prefix":"10.22501","author":[{"family":"Raissa Fahlman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:30Z","timestamp":1727193510000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/81312\/81313"}},"issued":{"date-parts":[[2015,5,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.81312","published":{"date-parts":[[2015,5,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:24Z","timestamp":1727238744913},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: Xenopoetic De\/Compositions: The Affect-Body as Interface, Supervisor: Jakob Lena Knebl\n\nEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>","DOI":"10.22501\/envelo.2737995","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T11:26:19Z","timestamp":1715599579000},"source":"Crossref","is-referenced-by-count":0,"title":["Improbable Interfaces: Ambiguity, Affect and the Corporeal"],"prefix":"10.22501","author":[{"family":"Johanna Bruckner","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:06Z","timestamp":1727193906000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2737995\/2737996"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2737995","published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:27Z","timestamp":1727238747454},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,14]]},"abstract":"The mountainous geography of Appalachia has been shaped by the coal industry since the post-Civil War Reconstruction Era of the United States. Mountaintop Removal (MTR) is a controversial and highly destructive surface-mining method flattening the mountains of Appalachian since the 1970s. The rise in massive energy consumption correlated to consumer electronics, automation, and technocratic neoliberalism have irrevocably flattened the surface and culture of Appalachia.\n\nReclamation is the final act in MTR mining in which the mine operator is obligated to ecologically restore the land. Where MTR sites were once hidden away, and even photographing them is considered an act of trespassing, today I can bear witness to the destruction of the mountain topology by connecting to Google's Earth (not to be confused with earth-Earth). Despite the remote locations and inaccessibility of the sites, the data is particularly rich due to the economical advantages of mapping the region for the coal industry. \n\nIn this exposition, I make my own reclamation as one in the generation born after the boom of coal production and its inevitable decline. I am reclaiming the 3D geospatial data of MTR and mining disaster sites, extracted from the servers of Google Earth. I recontextualize these geospatial assets to compose a visual prosopography of those surfaces.<\/jats:p>","DOI":"10.22501\/vis.748182","type":"journal-article","created":{"date-parts":[[2020,10,14]],"date-time":"2020-10-14T11:05:05Z","timestamp":1602673505000},"source":"Crossref","is-referenced-by-count":0,"title":["Reclamation : Exposing Coal Seams and Appalachian Fatalism with Digital Apparatuses"],"prefix":"10.22501","author":[{"family":"Ernie Roby-Tomic","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:15Z","timestamp":1727194155000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/748182\/748183"}},"issued":{"date-parts":[[2020,10,14]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/vis.748182","published":{"date-parts":[[2020,10,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:56Z","timestamp":1727238716909},"posted":{"date-parts":[[2023,11,26]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"An interactive, mixed-media artistic research process \u2013 using somatic experience, dance, listening, storytelling, and visual arts to ponder on the topic of distance in research practice.\n\nThe focal point of this research process has been the somatic feeling of distance and entanglement and exploring those through movement - captured on film, inspired by and enriched with music by \u00d3lafur Arnalds.\n\nThe written story is a secondary translation of the research process, formed by the somatic exploration, movement experimentation, painting, and the process of film-making. I\u2019ve used watercolors as an aid to help me translate and express the inquiry in the form of text.<\/jats:p>","DOI":"10.22501\/rc.2260209","type":"posted-content","created":{"date-parts":[[2023,11,26]],"date-time":"2023-11-26T12:21:26Z","timestamp":1701001286000},"source":"Crossref","is-referenced-by-count":0,"title":["THE [ W A L L S ] WE CREATE : on distance in research practice"],"prefix":"10.22501","author":[{"family":"Ewa \u0141\u0105czkowska","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:00Z","timestamp":1727192520000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2260209\/2260210"}},"issued":{"date-parts":[[2023,11,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2260209","published":{"date-parts":[[2023,11,26]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:00Z","timestamp":1727238720116},"posted":{"date-parts":[[2022,7,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this presentation we will discuss the incorporation double bass in \nIndian classical music. Although it\u2019s a foreign instrument to India by \norigin, but it has immense possibilities for this music. We will discuss \nit\u2019s origins in India, basics of Indian classical music, similar Indian \ninstruments, Indian classical violin, bassists exploring Indian classical \nmusic, cross genre & indian fusion music involving the double bass & \nit\u2019s application as an accompanying instrument in this tradition & \narguments for it\u2019s incorporation.<\/jats:p>","DOI":"10.22501\/rc.1704270","type":"posted-content","created":{"date-parts":[[2022,7,8]],"date-time":"2022-07-08T22:05:03Z","timestamp":1657317903000},"source":"Crossref","is-referenced-by-count":0,"title":["Double Bass in Indian Classical Music"],"prefix":"10.22501","author":[{"family":"SD","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:19Z","timestamp":1727192659000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1704270\/1704269"}},"issued":{"date-parts":[[2022,7,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1704270","published":{"date-parts":[[2022,7,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:01Z","timestamp":1727238721941},"posted":{"date-parts":[[2022,4,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The project \u201cConcert for Double Bass \u2018In Absentia\u2019\u201d explores the effects of spatial displacement between performer and audience on the production and reception of free improvised practices. An instrument fitted with contact speakers and placed in a space becomes a conduit for sound, creating a reversal of roles\u2013the audience is present in the performance space while the performer streams an improvisation from another location. This setting breaks established conventions and expectations of a performance situation, and therefore allows for a thorough analysis of the various ways in which improvisatory practices are perceived and conceptualized. The framework of the performance provides stimulation resulting in a series of qualitative interviews with members of the audience on the topics of absence, classification, perception of musical form, distraction, and interaction. Through these interviews, clear irritations in relation to the absence of a performer have been observed. These initial irritations in turn stimulated heightened levels of imaginative thinking and listening during the performance. This project shows how an experimental performative setting can provide a starting point for subsequent theoretical research.<\/jats:p>","DOI":"10.22501\/rc.1595016","type":"posted-content","created":{"date-parts":[[2022,4,11]],"date-time":"2022-04-11T16:35:01Z","timestamp":1649694901000},"source":"Crossref","is-referenced-by-count":0,"title":["Concert for Double Bass \u2018In Absentia\u2019"],"prefix":"10.22501","author":[{"family":"Ivar Roban Krizic","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:48Z","timestamp":1727192688000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1595016\/1595017"}},"issued":{"date-parts":[[2022,4,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1595016","published":{"date-parts":[[2022,4,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:03Z","timestamp":1727238723157},"posted":{"date-parts":[[2020,11,16]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Dette er konsept 1 av v\u00e5r sansehage, den handler om lys<\/jats:p>","DOI":"10.22501\/rc.1031190","type":"posted-content","created":{"date-parts":[[2020,11,16]],"date-time":"2020-11-16T16:33:14Z","timestamp":1605544394000},"source":"Crossref","is-referenced-by-count":0,"title":["Sansehage Konsept 1"],"prefix":"10.22501","author":[{"family":"Marius Skaten Aarbakke","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ingunn Hatlehol Andreassen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ida Anemone Roland Berger","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Tyler Akselsen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ida Emilie Viervoll","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:49Z","timestamp":1727192869000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1031190\/1031191"}},"issued":{"date-parts":[[2020,11,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1031190","published":{"date-parts":[[2020,11,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:06Z","timestamp":1727238726699},"posted":{"date-parts":[[2014,9,26]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A complete overview of the artistic research conducted from 2006 to 2014<\/jats:p>","DOI":"10.22501\/rc.98462","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:54:42Z","timestamp":1498067682000},"source":"Crossref","is-referenced-by-count":0,"title":["Complete research 2006 2014"],"prefix":"10.22501","author":[{"family":"Massimo Pianese","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:24Z","timestamp":1727193024000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/98462\/98463"}},"issued":{"date-parts":[[2014,9,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.98462","published":{"date-parts":[[2014,9,26]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:13Z","timestamp":1727238733262},"posted":{"date-parts":[[2014,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Discussions on photography circulate around reality, transparency, power, authorship and meaning. Convincing narratives define how photography has been used and thought of. It is taken for granted that history follows the arrow of time, thus is written after things have happened. But narratives create ruptures, changing the future of the past. Therefore, instead of looking at photography from the present backwards, what if we look from the future instead? What would that tell us about the present? Science fiction as a literary genre forces a reconceptualisation of the practice of knowledge.\nThis article takes place in the future.<\/jats:p>","DOI":"10.22501\/rc.95626","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:53Z","timestamp":1498067633000},"source":"Crossref","is-referenced-by-count":0,"title":["Primary"],"prefix":"10.22501","author":[{"family":"Marc Goodwin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:08Z","timestamp":1727193008000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/95626\/95627"}},"issued":{"date-parts":[[2014,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.95626","published":{"date-parts":[[2014,12,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:14Z","timestamp":1727238734104},"reference-count":0,"publisher":"Society for Artistic Research","issue":"31","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,12,21]]},"abstract":"\u201cCommotion\u201d is a fixed media multichannel composition that revolved around the principles of minimalist music. This exposition aims at understanding these principles while it tries to place the process of composing the piece within the common premises of artistic research. Due to the nature of its context, this approach includes also theories of reception - mostly by exploring themes such as intentionality, interpretation and representation. With this exposition, the author shares technical terminology of sound practices, in order to promote it in contexts predominantly visual-oriented.<\/jats:p>","DOI":"10.22501\/jar.723227","type":"journal-article","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T16:57:56Z","timestamp":1703177876000},"source":"Crossref","is-referenced-by-count":0,"title":["The Making of 'Commotion'"],"prefix":"10.22501","author":[{"family":"Sara Pinheiro","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:18Z","timestamp":1727193078000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/723227\/723228"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"journal-issue":{"issue":"31"},"URL":"https:\/\/doi.org\/10.22501\/jar.723227","published":{"date-parts":[[2023,12,21]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:42Z","timestamp":1742358162180,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0023","type":"journal-article","created":{"date-parts":[[2019,12,20]],"date-time":"2019-12-20T10:42:18Z","timestamp":1576838538000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Paulo de Assis, \"Logic of Experimentation: Rethinking Music Performance through Artistic Research\""],"prefix":"10.22501","author":[{"given":"Ronald","family":"Bogue","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,12,19]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:59Z","timestamp":1742292179000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-paulo-de-assis-logic-experimentation-rethinking-music-performance-through-artistic-research"}},"issued":{"date-parts":[[2019,12,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0023","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,12,19]]}},{"indexed":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T05:26:25Z","timestamp":1741238785603,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,5]],"date-time":"2025-03-05T00:00:00Z","timestamp":1741132800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Cet article interpr\u00e8te l'adh\u00e9sion au pass\u00e9 qui le con\u00e7oit comme l'id\u00e9al et la v\u00e9ritable mani\u00e8re de faire progresser, en gardant les yeux ferm\u00e9s sur le fait que l\u2019\u00e9volution culturelle peut rendre ce qui \u00e9tait \"sage\" m\u00eame inappropri\u00e9 ou nuisible. Les \u00e9tudes de cas pr\u00e9sentent donc une dimension globale de l\u2019\u00e9poque autoritaire en Turquie, allant jusqu\u2019aux id\u00e9ologies cach\u00e9es derri\u00e8re le voile des sciences. L\u2019id\u00e9ologie autoritaire en Turquie est une question de droit et d\u2019exception. Le fil qui relie aujourd\u2019hui la Turquie et le monde moderne est l\u2019id\u00e9ologie capitaliste. Les habitants d\u2019un m\u00eame \u201cvillage global\u201d se r\u00e9veillent et partent de chez eux vers des chemins diff\u00e9rents o\u00f9 ils peuvent se retrouver avec des id\u00e9ologies de n\u00e9gation, remplac\u00e9es par des sciences confidentielles dans un monde qui croit en l\u2019ouverture et la d\u00e9mocratie, qui est toujours au c\u0153ur des pratiques scientifiques.<\/jats:p>\n keywords: autoritarisme, d\u00e9ni, tyrannie, terror<\/jats:p>","DOI":"10.22501\/rc.3496674","type":"posted-content","created":{"date-parts":[[2025,3,5]],"date-time":"2025-03-05T18:10:57Z","timestamp":1741198257000},"source":"Crossref","is-referenced-by-count":0,"title":["Critique au Temps Autoritaire"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,5]],"date-time":"2025-03-05T18:10:57Z","timestamp":1741198257000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3496674\/3496673"}},"issued":{"date-parts":[[2025,3,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3496674","published":{"date-parts":[[2025,3,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,4]],"date-time":"2025-03-04T12:40:16Z","timestamp":1741092016896,"version":"3.38.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,3,4]],"date-time":"2025-03-04T00:00:00Z","timestamp":1741046400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,3,4]]},"abstract":"The pursuit of perfection and the pressure to continually progress often overshadow the intrinsic joy and freedom that initially drew musicians to their profession. After a negative experience within my studies, I wanted to rediscover the essence of music-making through the lens of a specific tool: free improvisation.\n\nThe research is driven by an autoethnographic approach where I focus on a specific angle within the broader topic of free improvisation: exploring how incorporating this tool affects the different parts of flute playing by putting the focus on how it can make us connect with our instrument, be more aware of our playing, of our body and to expand our creativity and imagination. \nAdopting a qualitative methodology, this research includes an exhaustive literature review, a journal on my reflections in collaborative sessions with a professional on the field and a data analysis of the survey answers by both professionals and students connected with this tool.\nThrough immersive sessions conducted by Anne La Berge, I was guided across the possibilities of this tool. These are captured in a field journal where I reflect on topics as body awareness, skill development, creativity and motivational shifts triggered by the improvisational process in my own experience. \nAdditionally, the insights collected from the questionnaires bring different points of view in the matter, offering diverse experiences and valuable perspectives.\nIn summary, this study highlights the potential of free improvisation as a tool for reconnection, self-discovery and artistic growth as a flute player.<\/jats:p>\n keywords: Free improvisation, flute, Technical proficiency, Autoethnographic, Reconnection<\/jats:p>","DOI":"10.22501\/koncon.2394264","type":"journal-article","created":{"date-parts":[[2025,3,4]],"date-time":"2025-03-04T11:29:48Z","timestamp":1741087788000},"source":"Crossref","is-referenced-by-count":0,"title":["Free Improvisation As a Connection Tool: Searching For Technical Proficiency, Reconnection and Creativity in Flute Practice"],"prefix":"10.22501","author":[{"family":"Elisa Bartolome Gomez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,3,4]],"date-time":"2025-03-04T11:29:50Z","timestamp":1741087790000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2394264\/2609293"}},"issued":{"date-parts":[[2025,3,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2394264","published":{"date-parts":[[2025,3,4]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:02Z","timestamp":1733202782973,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Wayfaring, I believe, is the most fundamental mode by which living beings, both human and non-human, inhabit the earth. By habitation I do not mean taking one\u2019s place in a world that has been prepared in advance for the populations that arrive to reside there. The inhabitant is rather one who participates from within in the very process of the world\u2019s continual coming into being and who, in laying a trail of life, contributes to its weave and texture. (Ingold 2007: 81)<\/jats:p>","DOI":"10.22501\/jss.266158","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:10Z","timestamp":1733149570000},"source":"Crossref","is-referenced-by-count":0,"title":["OA#1: LISTENING AND MAPPING THE SONIC. PLURALITY AND WAYFARING: WRITING THE OPENSOUND PROJECT"],"prefix":"10.22501","author":[{"family":"J. Milo Taylor","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:11Z","timestamp":1733149571000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/266158\/266159"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.266158","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:08Z","timestamp":1733202788974,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,1,13]]},"abstract":"Two major developments in architectural thinking of the past decade: an emerging interest in atmospheric design, on the one hand, and developments in responsive architectures, on the other, have produced a fertile ground for responsive acoustic environments. After a brief discussion of recent projects by the author\u2019s research group in which acoustic environments and their human occupants are considered to be components of a single system, the paper speculates regarding the potential impact of such systems on the contemporary urban environment.<\/jats:p>","DOI":"10.22501\/jss.234594","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:09Z","timestamp":1733149629000},"source":"Crossref","is-referenced-by-count":0,"title":["Instrumental Operations in the Urban Assemblage"],"prefix":"10.22501","author":[{"family":"Colin Ripley","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:09Z","timestamp":1733149629000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/234594\/234595"}},"issued":{"date-parts":[[2016,1,13]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/jss.234594","published":{"date-parts":[[2016,1,13]]}},{"indexed":{"date-parts":[[2025,10,9]],"date-time":"2025-10-09T00:59:20Z","timestamp":1759971560212,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Post-Interpretive Method: How to Practice Restraint in Front of a Work of Art\n\nBy Dorian Vale\n\nThis essay introduces a foundational method within Post-Interpretive Criticism (PIC): the practice of restraint in the presence of art. Written for viewers, not critics, it offers a quiet revolution in perception\u2014one that replaces the instinct to explain with the discipline to remain near without interference.\n\n \n\nDorian Vale outlines the psychological and philosophical shift required to witness a work without reaching to interpret it. Drawing from the core principles of PIC, the essay invites the reader to sit longer, say less, and sense more\u2014treating the artwork not as a puzzle to be solved, but as a presence to be honored.\n\n \n\nStructured around a series of gentle provocations and meditative exercises, this piece reframes stillness as a form of ethical proximity. It challenges the reader to suspend their search for meaning and instead, practice reverence.\n\n \n\nThis is not a manual for analysis. It is a call to integrity. In a culture that rewards reaction, Vale teaches the viewer how to return to presence.\n\n \n\nVale, Dorian. Post-Interpretive Method: How to Practice Restraint in Front of a Work of Art. Museum of One, 2025. DOI: 10.5281\/zenodo.17076884\n\n \n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)\n\nPost-Interpretive Criticism, Dorian Vale, art viewing guide, how to look at art, presence in art, restraint in art, ethical art engagement, witnessing not interpreting, contemporary art theory, stillness in museums, trauma-informed art viewing<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Silence as method, Temporal scarcity, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Independent Philosopher of Art, Post-Aesthetic Critic, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, Art as Truth, The Canon of Witnesses, Art as Presence, The Viewer as Evidence, Language as Custody, Interpretation vs. Witnessing, Museum of One Manifesto, Erasure as Afterlife, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, https:\/\/orcid.org\/0009-0004-7737-5094<\/jats:p>","DOI":"10.22501\/rc.3921643","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T14:51:40Z","timestamp":1759935100000},"source":"Crossref","is-referenced-by-count":0,"title":["Post-Interpretive Method: How to Practice Restraint in Front of a Work of Art"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T14:51:40Z","timestamp":1759935100000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921643\/3921642"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921643","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:41:44Z","timestamp":1761000104103,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2025,10,21]],"date-time":"2025-10-21T00:00:00Z","timestamp":1761004800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,21]]},"abstract":"Gestaltology Encoded is an experimental research article in the form of an exposition, centered around the development of an artificial organism, Arcana, coming to life through the artistic research project Gestaltology (2020\u20132023). The project aims to explore AI and robotics in a way that challenges Cartesian dualism, by investigating the interplay between mind, body, and environment. By engaging a transdisciplinary team, the project delves into evolutionary biology, AI, and robotics, creating an artificial organism that evolves through symbiosis with its environment. Arcana\u2019s artistic process, rooted in these conditions, emerges through its ability to create visual outputs that transcend human-centric perspectives. This research proposes a posthuman approach to AI development, emphasizing an ecocentric and performative perspective that reshapes the relationship between technology, art, and ecology. The article reflects on the project's iterative nature, where failure is viewed as an inevitable and creative catalyst, guiding the project toward unforeseen futures.<\/jats:p>\n keywords: Artificial Intelligence, evolutionary biology, Gestaltology, artificial creativity, transdisciplinary collaboration, posthumanism<\/jats:p>","DOI":"10.22501\/vis.3876892","type":"journal-article","created":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:02:08Z","timestamp":1760997728000},"source":"Crossref","is-referenced-by-count":0,"title":["Gestaltology Encoded"],"prefix":"10.22501","author":[{"family":"DiPisaStasinski","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:02:08Z","timestamp":1760997728000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3876892\/3876897"}},"issued":{"date-parts":[[2025,10,21]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/vis.3876892","published":{"date-parts":[[2025,10,21]]}},{"indexed":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:42:03Z","timestamp":1761000123508,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2025,10,21]],"date-time":"2025-10-21T00:00:00Z","timestamp":1761004800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,21]]},"abstract":"What if failure is not collapse but recalibration? This research reconsiders seismic activity as a speculative site of vibratory instability, adjustment, and relational tension, rather than disaster. Drawing on seismic data from the most significant Romanian earthquakes between 1977 and 2023, the project translates magnitudes into an immersive sound installation that renders the inaudible perceptible through algorithmic processing and low-frequency vibration. The resulting sonic environment invites discomfort and disorientation as productive states, reframing failure as a mode through which we may interpret stability itself differently. \n\nThe work draws from Merleau-Ponty\u2019s phenomenology, Jung\u2019s archetypal theory, Bohm\u2019s field theory, Deleuze\u2019s pataphysics, Priest\u2019s aesthetics of failure, and Eshun\u2019s sonic fiction to position seismic resonance as a speculative and unstable threshold between sensing and knowing. Rather than presuming to represent the Earth\u2019s voice, the installation critically engages with the ethical implications of translating geophysical data into sound, acknowledging the gaps, distortions, and interpretive acts involved. Instead of breakdown, failure becomes a condition of listening \u2013 one that resists mastery and opens a dialogue between human and more-than-human temporalities through sonic practice.<\/jats:p>\n keywords: inaudible, sound art, Algorithmic Composition, earthquake, Bucharest, romanian music, failure, Physics, physicality, immersive, phenomenlogy, sonic fiction, nonhuman, speculative sonification<\/jats:p>","DOI":"10.22501\/vis.3249911","type":"journal-article","created":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:02:41Z","timestamp":1760997761000},"source":"Crossref","is-referenced-by-count":0,"title":["Listening to a World Coming to Terms with Itself"],"prefix":"10.22501","author":[{"family":"Oprescu Simina","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:02:41Z","timestamp":1760997761000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3249911\/3249912"}},"issued":{"date-parts":[[2025,10,21]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/vis.3249911","published":{"date-parts":[[2025,10,21]]}},{"indexed":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T12:55:58Z","timestamp":1772024158965,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rmc","type":"journal","created":{"date-parts":[[2025,1,15]],"date-time":"2025-01-15T08:46:26Z","timestamp":1736930786000},"source":"Crossref","is-referenced-by-count":0,"title":["Rhythmic Music Conservatory"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T11:55:48Z","timestamp":1772020548000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2893146\/2893147"}},"short-title":["rmc"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rmc"},{"indexed":{"date-parts":[[2025,5,16]],"date-time":"2025-05-16T04:05:54Z","timestamp":1747368354275,"version":"3.40.5"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T00:00:00Z","timestamp":1747267200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ntnu"],"published-print":{"date-parts":[[2025,5,15]]},"abstract":"This exposition contains the documentation of Espen Aalberg\u00b4s artistic research project \u201cEastern Rebellion - with gamelan as inspiration for new musical expressions\"\n\n\"Eastern Rebellion - with gamelan as inspiration for new musical expressions\" is focusing on a meeting point where Aalberg, as a musician and composer, has searched for inspiration in gamelan music, instruments, and concepts. Aalberg has a broad practice as a performer and composer\/music creator with a professional career in both jazz and classical-contemporary direction. This experience, in collaboration with inspiration and instruments from gamelan, will be illuminated in different musical expressions and contexts.<\/jats:p>\n keywords: artistic research, gamelan, cultural appropriation, orientalism, jazz, contemporary music, ntnu, PHkunst, phd, PhD Artistic Research, music, imu, hf<\/jats:p>","DOI":"10.22501\/ntnu.1257086","type":"journal-article","created":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T12:19:03Z","timestamp":1747311543000},"source":"Crossref","is-referenced-by-count":0,"title":["Eastern Rebellion - with gamelan as inspiration for new musical expressions"],"prefix":"10.22501","author":[{"family":"EAA","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Norwegian University of Science and Technology"],"language":"en","deposited":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T12:19:03Z","timestamp":1747311543000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1257086\/1257087"}},"issued":{"date-parts":[[2025,5,15]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/ntnu.1257086","published":{"date-parts":[[2025,5,15]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T16:26:45Z","timestamp":1754152005538,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2025,4,8]],"date-time":"2025-04-08T00:00:00Z","timestamp":1744070400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2025,4,8]]},"abstract":"In this exposition, I invite you to the process of research carried out in the tapestry manufactory in Vala\u0161sk\u00e9 Mezi\u0159\u00ed\u010d\u00ed. It aims to find out how to convey tapestries' craftsmanship, mediality and materiality through filming and post-production. The theme of transformation is essential: the transformation of the tapestry into a film image, but also the transformation of painting or graphics, which were the precursors of the tapestries woven in the manufactory. I am also looking for ways to use a primarily representational medium to achieve an effect of presence through materiality and corporeality. In my research, I interlace observational passages with stylized ones that emerge from a creative dialogue between the materiality of different media, artistic techniques, or post-production interventions. These methods can deepen not only the viewer's experience but also the documentary testimony and convey an almost tactile encounter with the filmed reality. Finally, based on practical experience, I distinguish working with materiality in film into three analytical cuts.\n\nV t\u00e9to expozici zvu do procesu v\u00fdzkumu, jak skrze nat\u00e1\u010den\u00ed a postprodukci filmu o gobel\u00ednov\u00e9 manufaktu\u0159e ve Vala\u0161sk\u00e9m Mezi\u0159\u00ed\u010d\u00ed zprost\u0159edkovat \u0159emeslnost, medialitu a materialitu tapis\u00e9ri\u00ed a recipro\u010dn\u011b i filmov\u00e9 technologie. Podstatn\u00fdm je tedy t\u00e9ma prom\u011bny. Prom\u011bny tapis\u00e9rie ve filmov\u00fd obraz, ale i prom\u011bny malby \u010di grafiky, kter\u00e9 byly p\u0159edobrazem v manufaktu\u0159e utkan\u00fdch tapis\u00e9ri\u00ed. Paraleln\u011b hled\u00e1m mo\u017enosti, jak pomoc\u00ed m\u00e9dia, kter\u00e9 je prim\u00e1rn\u011b reprezentativn\u00ed, doc\u00edlit skrz materialitu a t\u011blesnost \u00fa\u010dinku prezence. Ve v\u00fdzkumu st\u0159\u00edd\u00e1m observa\u010dn\u00ed pas\u00e1\u017ee se stylizovan\u00fdmi, kter\u00e9 vze\u0161ly z tv\u016fr\u010d\u00edho dialogu materialit odli\u0161n\u00fdch m\u00e9di\u00ed, v\u00fdtvarn\u00fdch technik \u010di postproduk\u010dn\u00edch z\u00e1sah\u016f. Tyto metody mohou prohloubit nejen div\u00e1ck\u00fd pro\u017eitek, ale i dokument\u00e1rn\u00ed v\u00fdpov\u011b\u010f a zprost\u0159edkovat a\u017e taktiln\u00ed setk\u00e1n\u00ed s nat\u00e1\u010denou skute\u010dnost\u00ed. Nakonec na z\u00e1klad\u011b praktick\u00e9 zku\u0161enosti rozli\u0161uji pr\u00e1ci s materialitou ve filmu do t\u0159\u00ed analytick\u00fdch \u0159ez\u016f.<\/jats:p>\n keywords: materialita, intermedialita, tapis\u00e9rie, digit\u00e1ln\u00ed obraz, experiment\u00e1ln\u00ed film, hand-made film, liquid light, \u0159emeslo, digit\u00e1ln\u00ed \u0159emeslo, AI, materiality, intermediality, tapestry, digital images, experimental cinema, hand-made cinema, Craft, digital craft.<\/jats:p>","DOI":"10.22501\/artact.3161278","type":"journal-article","created":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:42Z","timestamp":1753096722000},"source":"Crossref","is-referenced-by-count":0,"title":["Ruce v digit\u00e1ln\u00edm obraze: materialita tapis\u00e9ri\u00ed v autorsk\u00e9m dokument\u00e1rn\u00edm filmu"],"prefix":"10.22501","author":[{"family":"Petr Vasku","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:43Z","timestamp":1753096723000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3161278\/3161279"}},"issued":{"date-parts":[[2025,4,8]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/artact.3161278","published":{"date-parts":[[2025,4,8]]}},{"indexed":{"date-parts":[[2025,6,24]],"date-time":"2025-06-24T04:07:35Z","timestamp":1750738055711,"version":"3.41.0"},"posted":{"date-parts":[[2025,6,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,23]],"date-time":"2025-06-23T00:00:00Z","timestamp":1750636800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition investigates the potential of a\/r\/tography as a methodological framework within an artistic context characterized by improvisation in movement, dance, and theatre. Through a small-scale exploratory study, theory, practice, and reflection are integrated to examine how knowledge and understanding are generated within and through improvised artistic processes. The exposition includes documentation of practical components, reflective writings, and theoretical perspectives, and illustrates how a\/r\/tography can operate as a dynamic and responsive research methodology within the field of performative arts.\n\nThis exposition is part of the peer-reviewed article:\n\u00d8stern, T. P., Reppen, C., O\u2019Connell, S., & Daneberg, M. (2025). Choreographer\/researcher\/teacher - developing a\/r\/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2).<\/jats:p>\n keywords: A\/R\/Tography<\/jats:p>","DOI":"10.22501\/rc.2731837","type":"posted-content","created":{"date-parts":[[2025,6,23]],"date-time":"2025-06-23T18:39:17Z","timestamp":1750703957000},"source":"Crossref","is-referenced-by-count":0,"title":["Artography exposition: A\/r\/tography and improvisation"],"prefix":"10.22501","author":[{"family":"Stina O'Connell","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,6,23]],"date-time":"2025-06-23T18:39:17Z","timestamp":1750703957000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2731837\/2731838"}},"issued":{"date-parts":[[2025,6,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2731837","published":{"date-parts":[[2025,6,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T14:17:02Z","timestamp":1754144222489,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"35","license":[{"start":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T00:00:00Z","timestamp":1752537600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,7,15]]},"abstract":"The impossibility of perfect translation is a widely acknowledged trope, yet translation remains a powerful act of meaning-making. This research-creation project investigates not what is lost, but what is gained through translation, by presenting and reflecting on our artistic re-interpretation of <em>Dichterliebe<\/em>, Robert Schumann\u2019s nineteenth-century song cycle on texts by Heinrich Heine. Drawing on theories of translation by Walter Benjamin, Umberto Eco, and Hans Vermeer, we approach art song translation beyond its conventional linguistic scope, exploring it as a mode of modernization and gendered recontextualization. Our project, <em>The Poet\u2019s Love(r)<\/em>, features a new, singable English translation, alongside newly composed spoken poetry that gives voice to the song cycle\u2019s historically silent female protagonist.\n\nIn our methodological approach, we consider translation as a generative act within a broader artistic assemblage, incorporating artificial intelligence (AI)-generated images derived from the translated texts. These visuals, created with minimal textual prompts, offer a \u2018post-human\u2019 reflection on our hybrid nineteenth-century\/twenty-first-century intervention, illuminating both the creative potential and the inherent biases of AI-generated art. Through an iterative process of artistic experimentation, pedagogical engagement with students at the mdw \u2014 University of Music and Performing Arts Vienna \u2014 and comparative analysis of contemporary <em>Dichterliebe<\/em> adaptations, we examine the strengths, limitations, and ethical considerations of translation as artistic research.\n\nUltimately, we argue that translation \u2014 understood both linguistically and as creative transformation \u2014 can enhance access to art song\u2019s multiple communicative layers (music, text, subtext), expanding its interpretative possibilities. By embracing a translational methodology, we advocate for a shift away from rigid notions of fidelity to historical works and toward a more dynamic, pluralistic engagement with musical tradition, informed by feminist, posthumanist, and experimental artistic perspectives. By situating <em>The Poet\u2019s Love(r)<\/em> within a broader assemblage of interpretations \u2014 drawing on Paulo de Assis\u2019s concept of musical works as decentralized, evolving entities \u2014 the project challenges traditional notions of fidelity and authorship in art song. It argues for translation as a vital creative practice that expands accessibility, deepens emotional resonance, and enriches the afterlife of canonical works.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n<a class=\"download-accessible\" href=\"download-media?work=3794668&file=3794701\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: Dichterliebe, Schumann, translation, Gender studies, art song, reflective practice, post-human, the poet's lover, Lieder, song cycles, poetry, voicing the unvoiced, agency, piano, voice, female voice, empathy, AI<\/jats:p>","DOI":"10.22501\/jar.2082863","type":"journal-article","created":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T10:37:37Z","timestamp":1752575857000},"source":"Crossref","is-referenced-by-count":0,"title":["Found in Translation: The Poet's Love(r)"],"prefix":"10.22501","author":[{"family":"Chanda VanderHart","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Eric Stoklo\u00dfa","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Rebecca Babb-Nelsen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T10:37:37Z","timestamp":1752575857000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2082863\/3177915"}},"issued":{"date-parts":[[2025,7,15]]},"references-count":0,"journal-issue":{"issue":"35"},"URL":"https:\/\/doi.org\/10.22501\/jar.2082863","published":{"date-parts":[[2025,7,15]]}},{"indexed":{"date-parts":[[2025,10,31]],"date-time":"2025-10-31T20:23:15Z","timestamp":1761942195960,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,31]],"date-time":"2025-10-31T00:00:00Z","timestamp":1761868800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The dramaturgy of Conversation aims to tackle different approaches, analyses, and practices of conversations. Several forms of conversations and various related knowledges are questioned from different positions and perspectives. The data studied come from personal, external, or created (for and within the project) archives. In this project, researcher Ingrid Cogne analyses, develops or transforms, re-articulates and re-structures the ways in which one creates, inhabits, and facilitates conversations.The central question of The dramaturgy of Conversation as a methodology is HOW: How can the context, structure, location, and duration of existing or created situations of conversation support the (re-)articulation of the persons involved? How can one use or work with conversations? How can one read, inhabit, and embody the parameters of a conversation? How can one facilitate a conversation? How does a situation itself facilitate the meeting with knowledge? How can one create a situation of conversation that will be the facilitator itself?The dramaturgy of Conversation proposes situations, settings, and protocols of conversations that involve, combine, or isolate various languages (spoken, bodily, and written), \u201cin-between\u201d and relational knowledge, and dialogical methods and processes as well as formats of communication. The dramaturgy of Conversation is a methodology that focuses on \u201chow\u201d practical knowledge can be read, unfolded, and circulated within the \u201cdoing\u201d. It is a research project that facilitates the access to the unknown and the inarticulable \u2013 navigating between quantity and quality, fiction and reality, material and immaterial, visible and invisible.This research is aproached by the author as the context wherein a self-reflective process can be (re-)articulated and CO- and reciprocal activations of hardly articulable knowledges can be performed. With this re\/search, Cogne insists on the need of \u201cconversation\u201d to be practiced and considered as knowledge.Duration: 15.1.2019 \u2013 14.1.2025Project leader: Ingrid Cogne (IKW)Funded by: FWF - Austrian Science Fund | Elise-Richter PEEK (V709)Institution: IKW, Academy of Fine Arts Vienna, Austria<\/jats:p>\n keywords: Text-based art, Languages, Arts-based research, Expanded choreography, situational and relational practice, Communication<\/jats:p>","DOI":"10.22501\/rc.3713119","type":"posted-content","created":{"date-parts":[[2025,9,30]],"date-time":"2025-09-30T16:55:49Z","timestamp":1759251349000},"source":"Crossref","is-referenced-by-count":0,"title":["The dramaturgy of Conversation"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-8688-3638","authenticated-orcid":false,"family":"ingrid cogne","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,31]],"date-time":"2025-10-31T20:17:45Z","timestamp":1761941865000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3713119\/3895450"}},"issued":{"date-parts":[[2025,10,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3713119","published":{"date-parts":[[2025,10,31]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T23:39:34Z","timestamp":1769643574552,"version":"3.49.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T00:00:00Z","timestamp":1769558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,1,28]]},"abstract":"This paper delves into the dynamics and dramaturgical specifications of ANA, a theatrical installation engineered for co-creating narratives in a dialogic process with individual users. ANA embodies a collaborative storytelling environment that is used to communicate narrative and emotional information through multiple modalities, thereby bringing into focus an unexpectedly human essence in a human-machine interaction. Integrating GPT-4, emotion-recognition algorithms and a simulation of its own affective state, ANA engages users in a 10-minute interaction, fostering an immersive narrative exchange where the affective dimension of collaborative storytelling takes precedence. This paper explores the specific challenges of prompt design in this setting, focusing on the concept of emotional attuning, the feeling of being \u201cin sync\u201d with a machine throughout the interaction. Through an analytical lens encompassing cognitive science, philosophy of mind, and prompting techniques, the authors describe and reflect practices of employing multimodal sensorial data such as emotion recognition, and dramatic considerations, into the process of designing prompts. They also describe and reflect on their attempts to establish a form of meta-communication with the machine about the emotional aspects of the experience. By focusing on dramaturgical and improvisational strategies, this paper underscores the pivotal significance of emotional attunement and multimodal communication in fostering intimate technological engagement.<\/jats:p>\n keywords: artificial intelligence, artistic processes, theater installation, prompt engineering, prompting, improvisational theatre, affect theory, digital artistic research, large language model, storytelling, human-machine-interaction, installation art<\/jats:p>","DOI":"10.22501\/artact.3009623","type":"journal-article","created":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T10:53:41Z","timestamp":1769597621000},"source":"Crossref","is-referenced-by-count":0,"title":["In Sync With A Machine"],"prefix":"10.22501","author":[{"family":"Ilja Mirsky","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Gunter Loesel","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Leonid Berov","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T10:53:42Z","timestamp":1769597622000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3009623\/3009622"}},"issued":{"date-parts":[[2026,1,28]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/artact.3009623","published":{"date-parts":[[2026,1,28]]}},{"indexed":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T23:39:34Z","timestamp":1769643574560,"version":"3.49.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T00:00:00Z","timestamp":1769558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,1,28]]},"abstract":"As interaction with corporate artificial intelligence increasingly becomes a precondition for contemporary life, artists need to see beyond Generative AI (GenAI) technology as a discrete tool that makes generic products. Instead, they can imagine combinatorial approaches and conceptual frameworks for AI-enabled artworks. Through my practice-based research, the act of prompting multimodal GenAI models has been informed by comprehending an assemblage as a \u201cframework of instruction\u201d held together through poetic alliances, within which the output from one component feeds the process of another. Practical experiments explored an interrelation of body, text, and predictive technology, where an algorithmic prediction of human action conjured \u201cbiometric poetry\u201d that was used to stimulate a language model. Working with archival film footage and digital puppets animated with motion-capture files gave rise to the idea of a camera\u2019s field of view \u2013 with its bounded contents acting like a key \u2013 eliciting value from a language model in a novel form of story making. Potential erroneous inferences were perceived as a new form of chance operation and a characteristic of algorithmic remix as defined by Steve F. Anderson. This method has been further developed in a project that combines performance, waste material, object recognition, and a language model to explore how the manipulation of garbage can be rationalised by a machine to produce poetic texts as a commentary to action portrayed on a screen.<\/jats:p>\n keywords: AI-enabled art, Intermedia, performance<\/jats:p>","DOI":"10.22501\/artact.3034539","type":"journal-article","created":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T10:54:00Z","timestamp":1769597640000},"source":"Crossref","is-referenced-by-count":0,"title":["Demolish Monsters on the Rocks: Prompting Through an Ensemble"],"prefix":"10.22501","author":[{"family":"bruce gilchrist","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T10:54:01Z","timestamp":1769597641000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3034539\/3771198"}},"issued":{"date-parts":[[2026,1,28]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/artact.3034539","published":{"date-parts":[[2026,1,28]]}},{"indexed":{"date-parts":[[2026,1,24]],"date-time":"2026-01-24T20:45:38Z","timestamp":1769287538569,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,23]],"date-time":"2026-01-23T00:00:00Z","timestamp":1769126400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Title: Solidifying the Ephemeral: The Alchemy of the Liquid CanvasArtist-Researcher: Giuseppe Rametta Giusirames1. Professional BiographyGiuseppe Rametta Giusirames is an Italian artist and material researcher whose practice lies at the intersection of contemporary art and chemical experimentation. Rejecting standardized industrial media, he develops proprietary material mixes, treating the creation of the \"base\" as an integral part of the creative act.His most significant breakthrough is a specialized technique designed to \"solidify the sea,\" transforming the fluid and ephemeral nature of marine environments into a permanent, solid canvas. Through his work, he explores themes of environmental memory, the alchemy of matter, and the tension between natural flux and artistic preservation. His studio is a continuous laboratory where traditional aesthetic values meet innovative material engineering.2. Research Statement This research focuses on the chemical and poetic transformation of natural and volatile elements. The core of the project is the stabilization of fluid environments through a unique technical process.Material Hybridization: Sea, Smoke, and AntisepsisMy investigation extends beyond seawater to the stabilization of other volatile and antiseptic substances: * Seawater: Capturing the essence of the ocean to create a structural canvas. * Amuchina (Chlorine-based solutions): Integrating antiseptic elements to explore the tension between hygiene, sterilization, and nature. * Smoke: Attempting to fix the weightlessness of air and fire into a solid surface.By inventing these material compounds, I investigate how artistic practice can \"fix\" a moment of environmental flux without losing its vital energy.3. The Poetics of Painting on the Sea For me, painting is not a gesture performed on a surface, but a dialogue with an element. To \"paint on the sea\" means to accept the fluid\u2019s rebellion before fixing it into eternity.It is a poetic act of translation: capturing the rhythm of waves, the transparency of the water, and the ghost-like presence of smoke within the physical constraints of a canvas. This practice transforms the artwork into a relic of a moment that was, by nature, impossible to grasp.4. Visual Documentation Per le tre foto che mi hai inviato, usa queste descrizioni: * Figure 1 - Organic Textures: A demonstration of how the proprietary mix creates an organic \"skin,\" allowing pigments to settle in a cellular structure. * Figure 2 - Marine Diffusion: The interaction between color and the solidified sea base, mimicking the natural movement of underwater currents. * Figure 3 - The Molecular Membrane: A macro view of the stabilized material. This transparent, alveolate structure proves the successful transition from liquid\/volatile states to a solid artistic medium.<\/jats:p>\n keywords: Artistic Research, Material Science in Art, Solidification, Proprietary Compounds, Seawater Stabilization, Smoke and Volatile Matter, Chemical Alchemy, Environmental Memory, Fluid Dynamics, Artistic Intelligence<\/jats:p>","DOI":"10.22501\/rc.4141894","type":"posted-content","created":{"date-parts":[[2026,1,23]],"date-time":"2026-01-23T11:19:37Z","timestamp":1769167177000},"source":"Crossref","is-referenced-by-count":0,"title":["Solidifying the Ephemeral: The Alchemy of the Liquid Canvas"],"prefix":"10.22501","author":[{"family":"Giusirames","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,23]],"date-time":"2026-01-23T11:19:37Z","timestamp":1769167177000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4141894\/4141893"}},"issued":{"date-parts":[[2026,1,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4141894","published":{"date-parts":[[2026,1,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:16:47Z","timestamp":1759936607101,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Embodied Reading: How Presence and Posture Change the Way We Read Art\n\nBy Dorian Vale\n\nIn this exploratory essay, Dorian Vale invites the reader to reconsider how art is not merely seen, but read\u2014bodily, spatially, and ethically. Embodied Reading proposes that how we physically approach a work\u2014our posture, breath, stillness, even the tempo of our gaze\u2014alters not only what we perceive, but what we are permitted to receive.\n\n \n\nThrough the lens of Post-Interpretive Criticism, Vale dismantles the myth of detached observation. He argues that presence is not a neutral position; it is a moral stance. The critic or viewer becomes a vessel whose alignment, reverence, and restraint determine whether the work is met with violence or with care.\n\n \n\nThis essay is both philosophical and practical\u2014a call to critics, curators, and audiences alike to reimagine the gallery not as a site of performance, but as a space of quiet consequence. To read art with the body is to return critique to its most sacred function: to witness without desecration.\n\n \n\nVale, Dorian. Embodied Reading: How Presence and Posture Change the Way We Read Art. Museum of One, 2025. DOI: 10.5281\/zenodo.17070948\n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)\n\nPost-Interpretive Criticism, Dorian Vale, embodied art criticism, art and presence, somatic aesthetics, art posture, ethical witnessing, museum stillness, embodied viewing, art and tempo, sacred criticism, viewer as vessel, phenomenology of art, art reception theory, trauma-informed art criticism, reverent art engagement<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Founder of Post-Interpretive Criticism, Dorian Vale, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Custodian of Witness Aesthetics, Aesthetic Philosopher, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, https:\/\/orcid.org\/0009-0004-7737-5094, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ<\/jats:p>","DOI":"10.22501\/rc.3921640","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T14:41:45Z","timestamp":1759934505000},"source":"Crossref","is-referenced-by-count":0,"title":["Embodied Reading: How Presence and Posture Change the Way We Read Art"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T14:41:45Z","timestamp":1759934505000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921640\/3921639"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921640","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T19:58:02Z","timestamp":1767038282391,"version":"3.48.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0086","type":"journal-article","created":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T19:54:02Z","timestamp":1767038042000},"source":"Crossref","is-referenced-by-count":0,"title":["El \u2018Canal en Espa\u00f1ol\u2019 de JAR: reflexiones sobre la marcha"],"prefix":"10.22501","author":[{"given":"Carolina","family":"Benavente Morales","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2025]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T19:54:03Z","timestamp":1767038043000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/el-canal-en-espanol-de-jar"}},"issued":{"date-parts":[[2025]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0086","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2025]]}},{"indexed":{"date-parts":[[2026,1,23]],"date-time":"2026-01-23T16:17:15Z","timestamp":1769185035511,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,23]],"date-time":"2026-01-23T00:00:00Z","timestamp":1769126400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A Museum of Breath: Designing Spaces for Attention, Not Spectacle proposes an alternative architectural and curatorial ethic for contemporary museums in an era increasingly governed by speed, spectacle, and attention economies. Departing from the dominant model of the museum as a site of circulation, visual consumption, and algorithmic visibility, the essay advances the concept of the Museum of Breath\u2014an institution designed not to display objects efficiently, but to protect and cultivate human attention as an ethical resource.Drawing on architectural phenomenology, aesthetic philosophy, and sacred spatial traditions, the essay argues that attention is not merely perceptual but moral: to attend fully is to suspend ego, resist extraction, and honor presence. Museums, once spaces of reverence and contemplation, have gradually adopted architectures optimized for movement, accumulation, and self-documentation. This shift, the essay contends, is not accidental but infrastructural, embedded in circulation patterns, lighting regimes, material choices, and curatorial metrics that privilege velocity over duration.The Museum of Breath is proposed as a counter-model. Its design principles emphasize subtraction, stillness, and respiratory rhythm. Architecture is treated as a living system\u2014one that expands and contracts, modulates light and air, and guides the visitor\u2019s pace through compression and release. Influenced by the work of architects such as Tadao Ando, Peter Zumthor, and Louis Kahn, as well as artists including Agnes Martin, Marina Abramovi\u0107, and Eija-Liisa Ahtila, the essay situates breathing as both a physiological and aesthetic organizing principle.Curation within this framework becomes an ethics of restraint. The curator is reimagined as a custodian of attention rather than a manager of content, responsible for creating conditions of duration, silence, and perceptual humility. The essay further critiques the market logic that renders spectacle measurable and stillness invisible, proposing alternative evaluative values grounded in slowness, absence, and unrecordable experience.Rather than offering a finalized architectural blueprint, A Museum of Breath presents a speculative yet rigorous proposal for rethinking museum design, curatorial practice, and institutional purpose. It invites architects, curators, and theorists to reconsider the museum not as a theatre of objects, but as a sanctuary for presence\u2014one that restores the human pulse in spaces increasingly designed to exhaust it.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and _Art as Truth: A Treatise_ (Q136329071), _Aesthetic Recursion Theory_ (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946)Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen.<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Phenomenology, Aesthetic Phenomenology, Phenomenology of Aesthetic, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Custodian\u2019s Oath, The Doctrine of Post-Interpretive Criticism, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4142427","type":"posted-content","created":{"date-parts":[[2026,1,23]],"date-time":"2026-01-23T14:43:01Z","timestamp":1769179381000},"source":"Crossref","is-referenced-by-count":0,"title":["A Museum of Breath: Designing Spaces for Attention, Not Spectacle"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,23]],"date-time":"2026-01-23T14:43:01Z","timestamp":1769179381000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4142427\/4142426"}},"issued":{"date-parts":[[2026,1,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4142427","published":{"date-parts":[[2026,1,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,4,7]],"date-time":"2026-04-07T20:07:31Z","timestamp":1775592451921,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,4,7]],"date-time":"2026-04-07T00:00:00Z","timestamp":1775520000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2026,4,7]]},"abstract":"This exposition invites you to explore my labyrinthine journey of finding out and telling a family secret. The project is developed in a threefold manner: through my subjective readings of my late father\u2019s archive as a daughter, my various symbolic interpretations and material responses to it as an artist, and my scholarly engagement with it in relation to interdisciplinary critical theory as a researcher. My approach is grounded in the work of French literary thinker Maurice Blanchot, drawing inspiration from his theoretical contributions in The Writing of the Disaster (1986) and extending them into the realm of artistic practice. Throughout the exposition, articulating, what I name as my Blanchotian disaster, becomes a major part of my research objective through a labyrinthine methodology of analysing, fragmenting, dispersing, and producing in loops. I introduce these to the reader as they interconnect in my process of utilising continental philosophy and literary theory to inform an expanded photographic art practice.Navigated through the continuous reconfiguration of the physical and conceptual conditions of the archive, this is an interdisciplinary study that seeks to uncover novel relationships of image and thought in relation to the disaster that form the meeting ground between creative practices, the personal and the philosophical.The project asks: How might an expanded photographic art practice utilise the Blanchotian disaster as the critical and navigational framework to uncover novel relationships between art practice and archival research?<\/jats:p>\n keywords: Archival Research, Maurice Blanchot, artistic research, continental philosophy, Labyrinth, disaster<\/jats:p>","DOI":"10.22501\/jar.4161217","type":"journal-article","created":{"date-parts":[[2026,4,7]],"date-time":"2026-04-07T19:39:29Z","timestamp":1775590769000},"source":"Crossref","is-referenced-by-count":0,"title":["Archiving my Blanchotian Disaster: Toward a Labyrinthine Methodology in Artistic Research"],"prefix":"10.22501","author":[{"family":"Ioanna Sakellaraki","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,4,7]],"date-time":"2026-04-07T19:39:29Z","timestamp":1775590769000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4161217\/4161218"}},"issued":{"date-parts":[[2026,4,7]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/jar.4161217","published":{"date-parts":[[2026,4,7]]}},{"indexed":{"date-parts":[[2026,3,31]],"date-time":"2026-03-31T04:10:35Z","timestamp":1774930235644,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0043","type":"journal-article","created":{"date-parts":[[2021,5,24]],"date-time":"2021-05-24T09:59:21Z","timestamp":1621850361000},"source":"Crossref","is-referenced-by-count":1,"title":["Artistic Research as Academic Borderlands"],"prefix":"10.22501","author":[{"given":"Lenka","family":"Vesel\u00e1","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,5,24]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:12Z","timestamp":1742292192000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/artistic-research-academic-borderlands"}},"issued":{"date-parts":[[2021,5,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0043","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2021,5,24]]}},{"indexed":{"date-parts":[[2026,4,17]],"date-time":"2026-04-17T07:25:55Z","timestamp":1776410755947,"version":"3.51.2"},"posted":{"date-parts":[[2026,4,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,17]],"date-time":"2026-04-17T00:00:00Z","timestamp":1776384000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Host\u2019s Blind Spot examines photographic practice under conditions of generative AI, where agency is distributed across human intention, algorithmic intervention, and systemic opacity. Rather than treating AI as a tool applied to images, the exposition approaches it as a condition operating within the photographic process, reshaping attention, authorship, and decision-making before, during, and after image production.Through a combination of photographs, AI-mediated transformations, process documentation, and a system diagram, the research foregrounds moments of drift, failure, and refusal as productive sites of knowledge. The work proposes a model of authorship grounded in responsibility rather than mastery, where the artist acts as a host navigating interference rather than controlling outcomes.Presented as a non-linear exposition in the Research Catalogue, the project invites readers to move between images, processes, and conceptual reflections, emphasising how blind spots emerge not from technical error but from the limits of human perception within complex human\u2013machine systems.A parallel public-facing exhibition site extends the project into a different spatial and discursive context.<\/jats:p>\n keywords: photography, generative AI, authorship, agency, drift, failure, human\u2013AI systems, practice-based research<\/jats:p>","DOI":"10.22501\/rc.4148677","type":"posted-content","created":{"date-parts":[[2026,3,11]],"date-time":"2026-03-11T18:17:06Z","timestamp":1773253026000},"source":"Crossref","is-referenced-by-count":0,"title":["The Host\u2019s Blind Spot"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0009-4203-1386","authenticated-orcid":false,"family":"Peter Hungerford","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,4,17]],"date-time":"2026-04-17T06:23:11Z","timestamp":1776406991000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4148677\/4148678"}},"issued":{"date-parts":[[2026,4,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4148677","published":{"date-parts":[[2026,4,17]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,7,1]],"date-time":"2025-07-01T07:40:09Z","timestamp":1751355609347,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,1]],"date-time":"2025-07-01T00:00:00Z","timestamp":1751328000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ntnu"],"published-print":{"date-parts":[[2025,7,1]]},"abstract":"(English below)\n\nEiras kiosk er ein serie med mindre konsertar, lydinstallasjonar og hendingar som blir annonsert kort tid i forvegen og dukkar opp p\u00e5 stadig ulike stader. Kioskserien er utvikla av Eira Bj\u00f8rnstad Foss og utgj\u00f8r ein viktig del av det p\u00e5g\u00e5ande kunstnarlege forskingsprosjektet \"Performer-Curator\" ved NTNU, Institutt for musikk. \n\nEiras kiosk: Skattejakt-edition blei spesiallaga til NTNU Artistic Research Week 2024. Saman med publikum utforska kiosken ulike krinkelkrokar i kulturhuset Olavshallen. Skattejakta tok utgangspunkt i, og er nesten ei realisering av, verket \"Ear Piece\" av den amerikanske komponisten og ut\u00f8varen Pauline Oliveros.\n\nEira\u2019s Kiosk is a series of small concerts, sound installations, and events that are announced shortly before they happen, and pop up in various locations. The kiosk series is developed by Eira Bj\u00f8rnstad Foss, and forms an important part of the ongoing artistic research project, \"Performer-Curator,\" at NTNU, Department of Music. Eira\u2019s Kiosk: Treasure Hunt Edition was specially created for NTNU Artistic Research Week 2024. \n\nTogether with the audience, the kiosk explored possibilities for experiences in various nooks and crannies of the cultural venue Olavshallen. The Treasure Hunt was based on, and is almost a realization of, the piece \"Ear Piece\" by the American composer and performer Pauline Oliveros.<\/jats:p>\n keywords: skattejakt, kiosk, kunst i offentlig rom, interaktiv kunst, treasure hunt, public art, interactive art, Pauline Oliveros, imf, ntnu, arw, artistic research week, hf<\/jats:p>","DOI":"10.22501\/ntnu.3335304","type":"journal-article","created":{"date-parts":[[2025,7,1]],"date-time":"2025-07-01T06:58:06Z","timestamp":1751353086000},"source":"Crossref","is-referenced-by-count":0,"title":["Eiras kiosk: Skattejakt-edition. ARW 2024"],"prefix":"10.22501","author":[{"family":"Eira Bj\u00f8rnstad Foss","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Norwegian University of Science and Technology"],"language":"en","deposited":{"date-parts":[[2025,7,1]],"date-time":"2025-07-01T06:58:07Z","timestamp":1751353087000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3335304\/3335319"}},"issued":{"date-parts":[[2025,7,1]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ntnu.3335304","published":{"date-parts":[[2025,7,1]]}},{"indexed":{"date-parts":[[2025,4,28]],"date-time":"2025-04-28T09:10:08Z","timestamp":1745831408176,"version":"3.40.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,4,28]],"date-time":"2025-04-28T00:00:00Z","timestamp":1745798400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ntnu"],"published-print":{"date-parts":[[2025,4,28]]},"abstract":"reconstruction i-v is a series of works I have been working on for almost a decade. The works take about 2 hours and 40 minutes to perform and explore the dismantling of industry, machines as part of people's intimate lives, and the musical potential of industrial machines and industrial sounds. I use embroidered scores, video and audio files as well as sewing machines and conventional acoustic instruments.\n\nIn this exposition I present the works and the process of making them. reconstruction i-v was performed in full by Alpaca Ensemble during ARW in Trondheim 2024.<\/jats:p>\n keywords: arw, artisticresearchweek, alpaca ensemble, music, Experimental music, nmh, norwegian academy of music<\/jats:p>","DOI":"10.22501\/ntnu.3014768","type":"journal-article","created":{"date-parts":[[2025,4,28]],"date-time":"2025-04-28T08:30:27Z","timestamp":1745829027000},"source":"Crossref","is-referenced-by-count":0,"title":["reconstruction i-v (2015-2023) - a series of works on industry and music"],"prefix":"10.22501","author":[{"family":"Lene Grenager","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Norwegian University of Science and Technology"],"language":"en","deposited":{"date-parts":[[2025,4,28]],"date-time":"2025-04-28T08:30:28Z","timestamp":1745829028000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3014768\/3296318"}},"issued":{"date-parts":[[2025,4,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ntnu.3014768","published":{"date-parts":[[2025,4,28]]}},{"indexed":{"date-parts":[[2025,4,23]],"date-time":"2025-04-23T04:15:58Z","timestamp":1745381758637,"version":"3.40.4"},"posted":{"date-parts":[[2025,4,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T00:00:00Z","timestamp":1745280000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Can an acoustic grand piano be sonically and conceptually reimagined so as to re-negotiate its foundational assumptions around tuning and timbre? Why should the piano continue to be so accustomed to only one tuning system? In contrast, how can \u201cpure sounds\u201d (ratios found in the harmonic series) co-exist with ethnically diverse microtonal tunings? \n\nSpanning a period from 2020-2022, \u201cUnburying, from Liminals, Emerging\u201d explores a microtonal prepared piano in three artistic contexts. These include: a solo project called \u201cPostcards of Nostalgia; a chamber ensemble consisting of saxophone trio, percussion and piano; and a \u201cpercussion ensemble with soprano saxophone called Juniper Fuse. \n\nDialoging with a newly invented tuning system, what emergent properties might we find when magnetic piano preparations are used to evoke specific timbral effects from Balinese Gamelan and Indian Karnatik music? Collectively, how can this expanded notion of \u201cpiano\u201d merge with\u00a0spatialization\u00a0to facilitate\u00a0interactive experiences\u00a0for audiences? How might a process-oriented Jungian-inspired dream work communicate itself so as to distill and coalesce a fertile musical landscape?<\/jats:p>\n keywords: piano, solo performance, solo improvisation, solowork, improvisation, improvised music, composition, composer as performer, compositional processes, prepared piano, tuning, tuning system, microtonal music, Microtonality, Microtonal system, gamelan, Karnatik Music, Carnatic, Jung, juniper, psychology, spatialisation, spatialization, recording, extended techniques, extended instrument, Multiculturalism, chamber ensemble, acoustic, liminality, liminal experiences, Liminal Space, dreams, dreaming, dreamwork, music, Transducer, magnetism, holism, Holistic practice, ecology, drone, rhythm language, rhythm, polyrhythm, groove, jazz, contemporary music, experimental, paintings, Score, interdisciplinary, RMC alumni, RMC<\/jats:p>","DOI":"10.22501\/rmc.1656067","type":"posted-content","created":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T08:42:43Z","timestamp":1745311363000},"source":"Crossref","is-referenced-by-count":0,"title":["Unburying, from Liminals, Emerging: Three Contexts for a Microtonal Prepared Piano"],"prefix":"10.22501","author":[{"family":"Matt Choboter","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T13:08:56Z","timestamp":1745327336000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1656067\/1666678"}},"issued":{"date-parts":[[2025,4,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rmc.1656067","published":{"date-parts":[[2025,4,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,5]],"date-time":"2025-10-05T20:41:16Z","timestamp":1759696876169,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,5]],"date-time":"2025-10-05T00:00:00Z","timestamp":1759622400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Esta pesquisa prop\u00f5e uma instala\u00e7\u00e3o com foco em aprofundar uma experi\u00eancia sensorial, para despertar a sensibilidade das pessoas, em S\u00e3o Bernardo\/MA, no Balne\u00e1rio Rio Buriti. S\u00e3o abordados elementos da escuta sens\u00edvel e consciente, como forma de valoriza\u00e7\u00e3o dos sons naturais e culturais do local. Para a execu\u00e7\u00e3o da pr\u00e1tica, realizamos algumas etapas, como: determinar local, dia e o hor\u00e1rio da atividade; elabora\u00e7\u00e3o de um mapa mental contendo todas as ideias; retomada da leitura do mapa mental com novas impress\u00f5es individuais, pessoais, subjetivas, objetivas; decidir sobre a a\u00e7\u00e3o em si. Nos desdobramentos desta a\u00e7\u00e3o, que envolve escutar, sentir e criar, observamos que a paisagem sonora, termo criado por Schafer (2009), possui todos os componentes para a cria\u00e7\u00e3o e sensibiliza\u00e7\u00e3o das pessoas em rela\u00e7\u00e3o aos seus pr\u00f3prios territ\u00f3rios. O autor demonstra sua preocupa\u00e7\u00e3o com a qualidade da escuta, que est\u00e1 cada vez mais amea\u00e7ada pelo problema da polui\u00e7\u00e3o sonora, por isso a necessidade de que a popula\u00e7\u00e3o tenha consci\u00eancia dos sons que nos rodeiam.<\/jats:p>\n keywords: Escuta, Mem\u00f3ria, Processo Criativo, Natureza, Sensa\u00e7\u00f5es<\/jats:p>","DOI":"10.22501\/rc.3915446","type":"posted-content","created":{"date-parts":[[2025,10,5]],"date-time":"2025-10-05T20:12:56Z","timestamp":1759695176000},"source":"Crossref","is-referenced-by-count":0,"title":["EXPERI\u00caNCIA SENSORIAL DIRECIONADA: Sons do Buriti, Escutar, Sentir e Criar"],"prefix":"10.22501","author":[{"family":"Eunice Eunice Maria de Olivera","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,5]],"date-time":"2025-10-05T20:12:56Z","timestamp":1759695176000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3915446\/3915445"}},"issued":{"date-parts":[[2025,10,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3915446","published":{"date-parts":[[2025,10,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,11,8]],"date-time":"2025-11-08T19:51:59Z","timestamp":1762631519446,"version":"build-2065373602"},"posted":{"date-parts":[[2025,11,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,8]],"date-time":"2025-11-08T00:00:00Z","timestamp":1762560000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Here is to be copied the abstract of your contribution. Please choose a license you feel comfortable with. The default is currently CC BY-NC-ND (see https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/deed.en ), which is a sensible choice, but you may also choose 'All Rights Reserved' if you prefer. Adding keywords (separate field) can help find your article on the RC platform.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3815777","type":"posted-content","created":{"date-parts":[[2025,11,8]],"date-time":"2025-11-08T19:48:01Z","timestamp":1762631281000},"source":"Crossref","is-referenced-by-count":0,"title":["Forum Artistic Research Proceedings Demo"],"prefix":"10.22501","author":[{"family":"Hanns Holger Rutz","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,8]],"date-time":"2025-11-08T19:48:01Z","timestamp":1762631281000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3815777\/3815778"}},"issued":{"date-parts":[[2025,11,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3815777","published":{"date-parts":[[2025,11,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T12:34:07Z","timestamp":1764765247559,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,12,16]],"date-time":"2020-12-16T00:00:00Z","timestamp":1608076800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2020,12,16]]},"abstract":"In recent years, \u201cDesign Thinking\u201d as an interdisciplinary innovation process has increasingly led trade and industry and the public sector to take an interest in the design profession. While this profession has traditionally been related to the design of products and shaping of surroundings, today design can also concern methods and processes, making the profession relevant for additional areas of society. In this article, we present some key characteristics of the design profession today, and also discuss which expectations and different designer roles newly qualified designers meet and may come to meet in the future.<\/jats:p>\n keywords: KMD_Design<\/jats:p>","DOI":"10.22501\/kmd-ar.1090256","type":"journal-article","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T04:25:30Z","timestamp":1623039930000},"source":"Crossref","is-referenced-by-count":0,"title":["A growing interest in creativity is opening up new roles for the designer- but also creating a need for clarification of these roles"],"prefix":"10.22501","author":[{"family":"Bente Irminger","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T12:29:51Z","timestamp":1764764991000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1090256\/1090257"}},"issued":{"date-parts":[[2020,12,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1090256","published":{"date-parts":[[2020,12,16]]}},{"indexed":{"date-parts":[[2025,11,24]],"date-time":"2025-11-24T16:20:05Z","timestamp":1764001205469,"version":"3.45.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/ffa","type":"journal","created":{"date-parts":[[2025,11,24]],"date-time":"2025-11-24T16:15:54Z","timestamp":1764000954000},"source":"Crossref","is-referenced-by-count":0,"title":["FFA BUT \u2013 Faculty of Fine Arts, Brno University of Technology"],"prefix":"10.22501","member":"9794","deposited":{"date-parts":[[2025,11,24]],"date-time":"2025-11-24T16:15:54Z","timestamp":1764000954000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/portal.favu.vut.cz\/"}},"short-title":["ffa"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/ffa"},{"indexed":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T22:00:12Z","timestamp":1777672812583,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"The exposition unpacks Vincent Roumagnac's \"Third-Ikebana\" series as an example of his theatre redirecting research practice. By staging traditional Ikebana arrangements using urban weeds, the project subverts conventional hierarchies of quality and value within scenographic, urban, and social contexts. The series thereby interrogates dominant aesthetic norms and their internalised distribution of agency, inviting a critical reevaluation of what constitutes value in both performance and urban environmental experience.Two modes of navigation are offered: a graphic version designed for computer screens, emphasizing the experiential dimension of the exposition, and a text-based format optimized for mobile reading, presented in a conventional article layout.<\/jats:p>\n keywords: theatre, city as stage, scenography, ikebana, ecology of practices, Contemporary art, artistic research<\/jats:p>","DOI":"10.22501\/ruu.3056725","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:06:21Z","timestamp":1777449981000},"source":"Crossref","is-referenced-by-count":0,"title":["Third-Ikebana"],"prefix":"10.22501","author":[{"family":"vincent roumagnac","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:06:21Z","timestamp":1777449981000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3056725\/3677833"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3056725","published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,5,15]],"date-time":"2026-05-15T00:53:10Z","timestamp":1778806390121,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,7,4]]},"abstract":"\u201cNoise\u201d is an important subject in sound studies research. However, due in large part to the fact that judgements about what constitutes noise are highly subjective, researchers have often struggled to define it. Where attempts have been made, many have settled on a definition of noise as \u201csound out of place,\u201d a reformulation of Mary Douglas\u2019 definition of \u201cdirt\u201d as \u201cmatter out of place\u201d (Douglas 1966: 44). Beyond this, however, no effort has been directed towards exploring the link between dirt and noise or seeing how far the analogy between the two extends. This article corrects this omission by undertaking a close reading of Douglas\u2019 writing on \u201cdirt\u201d and linking it to contemporary sound studies research. It argues that far more than simply giving rise to the definition \u201csound out of place,\u201d Douglas\u2019 classic anthropological work can be used as the basis for an integrated \u201ctheory of noise,\u201d deepening our understanding of what it means when we describe a sound as \u201cnoise\u201d and drawing attention to the ambiguous, transgressive and dangerous qualities and potentials of noise.<\/jats:p>","DOI":"10.22501\/jss.374514","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:23Z","timestamp":1733149643000},"source":"Crossref","is-referenced-by-count":1,"title":["Noise as \u201csound out of place\u201d: investigating the links between Mary Douglas\u2019 work on dirt and sound studies research"],"prefix":"10.22501","author":[{"family":"Hugh Pickering","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Tom Rice","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:24Z","timestamp":1733149644000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/374514\/374515\/0\/500"}},"issued":{"date-parts":[[2017,7,4]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jss.374514","published":{"date-parts":[[2017,7,4]]}},{"indexed":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T01:05:28Z","timestamp":1780016728989,"version":"3.53.1"},"posted":{"date-parts":[[2026,5,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T00:00:00Z","timestamp":1780012800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"ENGLISHWhat is Space? Does it carry the same meaning for everyone everywhere? In this exposition we engage in textural exprerience where the imagined borders of pixels, colors, faces and buildings are blured and recombined through artistic research in the south. The exposition revisits the multiple agency of space in a recent artistic research activity named \"Sureando las Escrituras\", which gathered artistic and design researchers and students from Costa Rica, Colombia and Mexico between the 5th to the 9th of May 2025 in Mexico City. The spaces of Sureando, rather than simple \u201cemplacements\u201d are the symbolic, affective, physical, digital and imagined hybrid spaces where, together, we experienced our symbolic, pragmatic, and emotional connections as a united community, and thus co-contructed our own holistic cognitive and intellectual artistic processes, not in a certain space, but rather alongside space(s).ESPA\u00d1OL\u00bfQu\u00e9 es el espacio? \u00bfTiene el mismo significado para todos en todas partes? En esta exposici\u00f3n, nos adentramos en una experiencia textural donde los l\u00edmites imaginarios entre p\u00edxeles, colores, rostros y edificios se difuminan y recombinan a trav\u00e9s de la investigaci\u00f3n art\u00edstica en el sur. La exposici\u00f3n retoma la agencia multiple del espacio en una reciente actividad de investigaci\u00f3n art\u00edstica llamada \"Sureando las Escrituras\", que reuni\u00f3, entre el 5 y el 9 de mayo de 2025, a investigadores y estudiantes del arte y del dise\u00f1o de Costa Rica, Colombia y M\u00e9xico en la Ciudad de M\u00e9xico.Tal como explora este trabajo, m\u00e1s que simples \"emplazamientos\", los espacios de Sureando son espacios h\u00edbridos simb\u00f3licos, afectivos, f\u00edsicos, digitales e imaginados donde, juntos, experimentamos nuestras conexiones simb\u00f3licas, pragm\u00e1ticas y emocionales como una comunidad unida, y as\u00ed co-construimos nuestros propios procesos art\u00edsticos, cognitivos e intelectuales hol\u00edsticos no EN un espacio determinado, sino JUNTO a \u00e9l (o a ellos).<\/jats:p>\n keywords: Art, Education, Space, Affection, Design, Care, Decolonial, Latin America.<\/jats:p>","DOI":"10.22501\/rc.4488668","type":"posted-content","created":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T00:51:38Z","timestamp":1780015898000},"source":"Crossref","is-referenced-by-count":0,"title":["Visual Experience of Sureando"],"prefix":"10.22501","author":[{"family":"Alexa Uma\u00f1a Zumbado","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T00:51:38Z","timestamp":1780015898000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4488668\/4488669"}},"issued":{"date-parts":[[2026,5,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4488668","published":{"date-parts":[[2026,5,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T08:06:26Z","timestamp":1780041986426,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,28]],"date-time":"2026-05-28T00:00:00Z","timestamp":1779926400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uis"],"published-print":{"date-parts":[[2026,5,28]]},"abstract":"This doctoral research project investigates alternative formats for performing French modernist art songs, with a particular focus on the repertoire of Erik Satie and the musical circle he formed, Les nouveaux jeunes, specifically Francis Poulenc, Darius Milhaud, and Georges Auric. By departing from the rigid conventions of the classical vocal recital, the project explores how reframing the performer\u2019s role as a creative collaborator can inspire innovative performance formats that challenge stereotypes within classical vocal music. The first performance, En spasertur rundt Montmartre med Erik Satie, applied HIP (historically informed performance) principles to Satie\u2019s cabaret and art songs, focusing on format and audience experience to rediscover the original performative context. The second, En stol, en sigarett og bein, centred on Poulenc\u2019s surrealist song cycles and examined how choreographed movement and poetry recitation can enhance the accessibility of complex texts. The third, En vanlig dag i et vanlig liv, featured songs by Milhaud and Auric, expanding the inquiry into theatricality and biographical texts, and was accompanied by lighting design and projected imagery to create a personal, multilayered narrative. The final performance, Going Passionately Somewhere, summarised the repertoire and methods from the three previous performances and opened new investigative avenues. It also served as a performative articulation of the reflective component of the doctoral result, revisiting central themes, questions, and discoveries that have shaped the research process. Finally, it presented an autobiographical narrative tracing the development of the author\u2019s artistic voice, in which the doctoral work represented a decisive turning point: a moment when questions of voice, agency, and authenticity became consciously articulated and artistically embodied. Throughout the project, the performer reclaims creative agency by designing performance formats that reflect both historical insight and personal artistic vision. While remaining committed to Werktreue, respecting the composer\u2019s intentions and the integrity of the score, the research also embraces a broader understanding of authenticity that includes the performer\u2019s voice, aesthetics, and embodied experience. This reconciliation between fidelity to the work and fidelity to the self becomes a central artistic and methodological concern. Through embodied experimentation, the project demonstrates that freeing the singing body from recital conventions fosters deeper vocal expression and greater performer satisfaction. It argues that the use of multimodality and interdisciplinarity can revitalise the presentation of early 20th-century French vocal music for contemporary audiences. Ultimately, the research advocates a more inclusive and diverse future in classical music performance, in which artists are encouraged to explore and define their own artistic identities, not in opposition to tradition but in dialogue with it.<\/jats:p>\n keywords: art song recital, multimodality, interdisciplinarity, performance design, French modernist art songs, embodied authenticity, performer agency, Satie, Milhaud, Auric, Poulenc<\/jats:p>","DOI":"10.22501\/uis.4194516","type":"journal-article","created":{"date-parts":[[2026,5,28]],"date-time":"2026-05-28T13:48:53Z","timestamp":1779976133000},"source":"Crossref","is-referenced-by-count":0,"title":["From Werktreue to Embodied Authenticity: Reclaiming the Performer\u2019s Voice in Art Song Recitals"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-4789-5054","authenticated-orcid":false,"family":"Heloise Baldelli","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Stavanger"],"language":"en","deposited":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T07:53:08Z","timestamp":1780041188000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4194516\/4194517"}},"issued":{"date-parts":[[2026,5,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uis.4194516","published":{"date-parts":[[2026,5,28]]}},{"institution":[{"name":"Universitetet i Bergen","acronym":["UiB"],"place":["Bergen"],"department":["KMD"]}],"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T11:23:07Z","timestamp":1648812187474},"reference-count":0,"publisher":"Universitetet i Bergen KMD","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/kmd-ar.1190576","type":"report","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:36:51Z","timestamp":1623055011000},"source":"Crossref","is-referenced-by-count":0,"title":["Archaeology - Collapse, bodywork, resurrection"],"prefix":"10.22501","author":[{"given":"Theodor","family":"Barth","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Bj\u00f8rn","family":"Blikstad","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Tale","family":"N\u00e6ss","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Petrine","family":"Vinje","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,3,1]]},"deposited":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:36:51Z","timestamp":1623055011000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1190576\/1190577"}},"issued":{"date-parts":[[2021,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1190576","published":{"date-parts":[[2021,3,1]]}},{"indexed":{"date-parts":[[2025,3,9]],"date-time":"2025-03-09T05:07:10Z","timestamp":1741496830435,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,8]],"date-time":"2025-03-08T00:00:00Z","timestamp":1741392000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Cognitive Architecture est un d\u00e9tour cognitif-psychanalytique autour des th\u00e9ories, hypoth\u00e8ses et des revendications cognitives d\u2019\u00e9conomie mondiale, des id\u00e9ologies, et des leurs conventions ou r\u00e9futations. Bien qu\u2019il soit davantage rencontr\u00e9 dans les sciences humaines, la mode de structuration des \u00e9v\u00e9nements, des happenings, est \u00e9galement un concept significatif dans les sciences cognitives. Les sciences cognitives con\u00e7oivent les fictions des realite faire des donn\u00e9es du sens commun et postulats qui d\u00e9cident des probl\u00e8mes dans leur conditionnement m\u00eame. Sans doute appara\u00eet-il d\u2019embl\u00e9e que les cadres dans lesquels les sciences humaines classent les ph\u00e9nom\u00e8nes en sensations, perceptions, images, croyances, fonctions et travaill\u00e9s logiques, jugements, etc., sont emprunt\u00e9s comme tels au travail de si\u00e8cles de philosophie. Loin d\u2019avoir \u00e9t\u00e9 forg\u00e9s pour une conception objective de la r\u00e9alit\u00e9 humaine, ces cadres ne sont que les produits de la destruction abstraite o\u00f9 se tracent les vicissitudes d\u2019un effort sp\u00e9cifique, qui pousse l\u2019homme \u00e0 chercher la confiance, la v\u00e9rit\u00e9, la conscience de soi et l\u2019univers. Une confiance qui est transcendante dans sa position, et qui le reste donc dans la forme, m\u00eame lorsque le philosophe en nie l'existence.\nLes tendances \u00e0 une confiance absolue dans les explications naturalistes des ph\u00e9nom\u00e8nes culturellement conditionn\u00e9s exigent une un encadrer l'appropriation cognitive des concepts scientifiques d\u2019\u00e9conomie mondiale. Dans les chapitres cons\u00e9cutives, ce livre critiques d'appropriations des concepts darwinienne dans les discours lib\u00e9rale d\u00e9tourne le darwinisme scientifique dans l\u2019id\u00e9e de s\u2019appropriation moins avec ou aux technologies avanc\u00e9es que de les adapter aux valeurs id\u00e9ologiques lib\u00e9rales croissantes qui elles- m\u00eames sont devenues plus autoritaires dans leurs r\u00e8gles non \u00e9crites d\u2019entrepreneuriat, d\u2019auto-\u00e9valuation et de d\u00e9veloppement individuel, particuli\u00e8rement l\u2019esprit humaine.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3504088","type":"posted-content","created":{"date-parts":[[2025,3,8]],"date-time":"2025-03-08T18:44:12Z","timestamp":1741459452000},"source":"Crossref","is-referenced-by-count":0,"title":["Cognitive Architecture"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,8]],"date-time":"2025-03-08T18:44:12Z","timestamp":1741459452000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3504088\/3504087"}},"issued":{"date-parts":[[2025,3,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3504088","published":{"date-parts":[[2025,3,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738216},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Nicholas Prince\n\nMain Subject: Classical Bass Trombone\n\nResearch Supervisor: Pete Saunders\n\nTitle of Research: The brass player\u2019s stutter\n\nResearch Question: \n\nThe brass players stutter, what is it, what are the causes and how can it be alleviated?\n\nSummary of Results:\n\nThis paper deals with what is known as the brass player\u2019s stutter, a very common but under researched issue. It occurs as the player inhales a breath to play but cannot exhale and produce the note on demand. The breath is just held in, thus giving a stutter effect. Many well-known professional brass musicians have suffered with these problems at some point in their careers. The author himself is one of the trombonists who has had to deal with this issue. Research was done through a series of interviews with different professional trombonists who have dealt with this problem to get their own opinions on this unusual issue and what they did to alleviate the problems. A questionnaire was also sent to trombone students in The Netherlands to find out if younger students are aware of such issues and if it can be avoided in the future. The results will provide a greater understanding of this problem and how I and others can find a solution to this obscure technical issue.\u00a0\n\nBiography: \n\nNick Prince is a Bass Trombonist from the UK. After finishing his Bachelor degree with Roger Argente and Graham Lee at Trinity College of Music London, he moved to the Netherlands to do his master degree with Brandt Attema. His keen interest in orchestral music has led to playing with many orchestras including the RPO and Southbank Sinfonia. He also has a keen interest in brass chamber music, being a founding member of the Gianni Brass ensemble, which still performs numerous concerts per year and takes part in many education projects in the London area.<\/jats:p>","DOI":"10.22501\/koncon.216139","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:45:17Z","timestamp":1725921917000},"source":"Crossref","is-referenced-by-count":0,"title":["The Brass Players Stutter"],"prefix":"10.22501","author":[{"family":"Nick Prince","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:50Z","timestamp":1727193470000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/216139\/216140"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.216139","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:19Z","timestamp":1727238739673},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2022,10,25]]},"abstract":"T\u00e4m\u00e4 ekspositio asetettaa yksitt\u00e4isen taiteellisen teon laajempaan julkiseen keskusteluun yliopistopolitiikan rakenteellisen kehitt\u00e4misen synnytt\u00e4mien ajatuksien liepeilt\u00e4. Eksposition keskeinen elementti on videoperformanssi \u201dInternalizing The Strategy\u201d, joka tapahtuu kaikille avoimessa julkisessa paikassa - Eduskuntatalon edess\u00e4. \n\nStrategia tulee vastaan mit\u00e4 moninaisimmissa yhteyksiss\u00e4. Tuntuu silt\u00e4, ett\u00e4 kaikilla pit\u00e4\u00e4 olla oma strategiansa. Kunnat, yritykset, urheiluseurat, p\u00e4iv\u00e4kodit, korkeakoulut esitt\u00e4v\u00e4t kilvan omia strategioitaan, mutta miten on strategian sis\u00e4ist\u00e4misen laita? Yliopistojen strategioissa painotetaan maailman muutoksen mukanaan tuomiin vaatimuksiin reagoimista, johon yliopistoilla on korkeatasoista osaamista tuottavina instituutioina mahdollisuus ja suoranainen velvollisuus. Muutoksesta tuotetaan mielikuvia, jotka esitet\u00e4\u00e4n sek\u00e4 pelottavina uhkakuvina, ett\u00e4 mahdollisuuksia tarjoavina positiivisina kehityskulkuina. Asiantuntijakielen tarkoituksena on saada tietyt valinnat tuntumaan tarpeellisilta ja hy\u00f6dyllisilt\u00e4. T\u00e4h\u00e4n kieleen on upotettu tietty edistymisen vaatimus ja lupaus, jota on vaikea vastustaa. \n\nEkspositio pyrkii havainnollistamaan ja koettelemaan strategian sis\u00e4ist\u00e4mista taiteellisin keinoin, joka on suhteessa vaatimusten absurdiin luonteeseen. \nMenetelm\u00e4n\u00e4 k\u00e4ytet\u00e4\u00e4n tekij\u00e4n itse kehittelem\u00e4\u00e4 \"poismaalaamisen\" tekniikkaa, jonka l\u00e4ht\u00f6kohtana on\u00a0digitaalisen valokuvan tai tekstin siirt\u00e4minen painomenetelmill\u00e4 maalauspohjalle. Valittu kuva tai teksti liittyy olemassa oleviin rakenteisiin, formaatteihin ja vakiintuneisiin ajattelu- ja menettelytapoihin. Poismaalaamisessa tehd\u00e4\u00e4n n\u00e4kyv\u00e4ksi merkityksen h\u00e4ilyvyys - teksti\/kuva on ihmisen mielikuvien rakentama. Se on purettavissa ja uudelleen tulkittavissa. Kuvan rakentaminen tapahtuu strategiatekstin poistamisen kautta. Poistamisen on m\u00e4\u00e4r\u00e4 viritt\u00e4\u00e4 useita rinnakkaisia tulkintamahdollisuuksia, jotka liittyv\u00e4t esimerkiksi tekstin\/kuvan pysyvyyteen, kirjoittamisen, poispyyhkimisen ja p\u00e4\u00e4llekirjoittamisen suhteeseen sek\u00e4 Taideyliopiston strategian osalta s\u00e4\u00e4d\u00f6sten valta-asemaan.<\/jats:p>","DOI":"10.22501\/ruu.1403538","type":"journal-article","created":{"date-parts":[[2022,10,25]],"date-time":"2022-10-25T13:24:57Z","timestamp":1666704297000},"source":"Crossref","is-referenced-by-count":0,"title":["Strategian sis\u00e4ist\u00e4minen"],"prefix":"10.22501","author":[{"family":"Mia Sepp\u00e4l\u00e4","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:17Z","timestamp":1727193557000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1403538\/1403539"}},"issued":{"date-parts":[[2022,10,25]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1403538","published":{"date-parts":[[2022,10,25]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:19Z","timestamp":1727238739666},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,5,21]]},"abstract":"In this exposition artist Lauri Linna discusses his PORK KANA CAR ROT project (2016-) and its offshoot the Keyboard for Plants (2019).\n\nPORK KANA CAR ROT questions and studies selective breeding which manipulates the reproduction of domesticated plants and animals. In this project the artist's practice is to maintain a carrot population in an allotment garden that is part of his artist\u2019s studio called \u201cThe Garden of The Not Simple\u201d. Linna tries to affect as little as possible the reproduction of these carrots in the allotment garden . Documentation of the PORK KANA CAR ROT from 2016 until 2021 is presented.\n\nBreeding has been suggested as an art form since the early 20th century. As Linna sees various issues with the methods of breeding, he wants to suggest practice of \"non-breeding\"; practice of choosing not to manipulate the reproduction of other-than-humans and to re-evaluate our methods.\n\nTo counter the effects of selective breeding Linna also suggests the practice of \"unbreeding\" to breed away the domestication of our production species. This practice will become important as we in the future transfer from traditional agriculture where we have individual animals or plants, to in vitro meat and plant tissue produced in labs. This causes the humanity in future to discard the old technology \u2013 the cows, the chickens, the carrots...\u2013 and cause mass killings or mass abandonment of production species and birth of new feral plants and animals.\n\nThe Keyboard for plants is an offshoot of POR KANA CAR ROT, that developed from the notion that plants have senses, can remember and change their behavior. The keyboard is a set of sensors that work like a push button that react to movements of the leaves of Mimosa pudica.<\/jats:p>","DOI":"10.22501\/ruu.784812","type":"journal-article","created":{"date-parts":[[2021,5,21]],"date-time":"2021-05-21T15:33:55Z","timestamp":1621611235000},"source":"Crossref","is-referenced-by-count":0,"title":["PORK KANA CAR ROT -project and its offshoot: Keyboard for plants"],"prefix":"10.22501","author":[{"family":"Lauri Linna","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:44Z","timestamp":1727193584000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/784812\/784813"}},"issued":{"date-parts":[[2021,5,21]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/ruu.784812","published":{"date-parts":[[2021,5,21]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738042},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"Name: Alexandra L\u00f3pez Arca\n\nMain Subject: Classical Violin\n\nResearch supervisor: Liesbeth Ackermans\n\nTitle of Research: To bow, or not to bow. Modern bow vs. baroque bow: comparisons and inspirations\n\nResearch Questions: To what extent do the shape and construction of the bow affect the violinist\u2019s sound and to what extent do her\/his use of the bow and musical choices influence the sound? What can a modern violinist learn from experimenting with a baroque bow? What are aspects of the evolution of the violin bow, its use and the evolution of right hand technique from the 18th century until now that are essential to be aware of when playing with both modern and baroque bow?\n\nSummary of Results:\nThe bow is the soul of the violin. Playing with different bows alters our sound. Their shape and construction affect the articulation that we naturally get with them. This fact tells us a lot about the music for which they were built, and we can learn from it in a natural way. But when a violinist is only familiarised with a modern bow, the learning process with an old bow can hardly take place. It is better to know what the characteristics of each bow are and experimenting with them in order to get used to them. After having this experience, different attacks, articulations and nuances will emerge and facilitate the music for which every bow was thought. It is interesting to see how the sources from those times show us the musical value of the different possibilities of the old bow. Nevertheless, if the musical idea the violinist has in mind does not match the old bow\u2019s natural behavior and the indications made for its use, using it would not bring any advantage. After an overview of the evolution of the bow and its relation with the right hand technique, I will explore the possibility of combining a modern instrument with an old bow as well as the benefits of using it for playing, especially when used following the indications the sources of that period reveal.\n\nBiography: \nBorn in Santiago de Compostela, she finished her bachelor\u2019s degree at the Escola Superior de M\u00fasica de Catalunya before moving to The Hague, where she studies with Vera Beths. Since her years in Barcelona, she has developed a special interest for early music performance practice, stimulated by her lessons with Alba Roca and Lorenzo Coppola, and with Walter Reiter in the Royal Conservatoire.<\/jats:p>","DOI":"10.22501\/koncon.299029","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:43:43Z","timestamp":1725921823000},"source":"Crossref","is-referenced-by-count":0,"title":["To bow, or not to bow"],"prefix":"10.22501","author":[{"family":"Alexandra Lopez Arca","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:26Z","timestamp":1727193446000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/299029\/299030"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.299029","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:23Z","timestamp":1727238743246},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: Technique Concerns: Ballet Practice Against the Western Archive, Supervisors: Ruth Anderwald + Leonhard Grond\n\nEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>","DOI":"10.22501\/envelo.2738020","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T11:26:52Z","timestamp":1715599612000},"source":"Crossref","is-referenced-by-count":0,"title":["Dancing with Lions"],"prefix":"10.22501","author":[{"family":"Andrew Champlin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:06Z","timestamp":1727193906000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2738020\/2738021"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2738020","published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:24Z","timestamp":1727238744779},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2015,3,29]]},"abstract":"I would like to present my inter-textual reading of some theories concerning the nature of space and my reflections upon the materiality of it. I aim to open an alternative way to think about scenography. I would like to expose the theoretical process, the visual documentation and the artistic outcomes of a particular scenic event.\n \nSo far, I have used my artistic practice as a method of inquiry and it is not my interest to offer an objective approach to the knowledge of space. In my process, I have found that reflective practice has been a central productive mode for my creativity. I intend to evaluate the unintended and unexpected findings in my work, and make them available for other practitioners.\nNew interpretations of visual culture may contribute to the generation of extended knowledge. New insights about well-known concepts may provoke different outcomes, some of which may go beyond the basic concepts of the discipline of origin.\n\nI am interested in sensuality as an object of analysis and reconsideration of human experience. I am excited to engage with the visual, not simply as a mode of recording data or illustrating texts, but \u2018as a medium through which new knowledge and critiques may be created\u2019 (Pink 2007, 13). I propose to connect various sources of knowledge in a way that brings alternatives to think as an architect, as a scenographer, as performance designer and as a teacher.\n\nAs much as I would like to situate the outcomes of my artistic research in the field of performance design, I hope my reflections may cross several disciplines.<\/jats:p>","DOI":"10.22501\/ruu.63183","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:35Z","timestamp":1503649475000},"source":"Crossref","is-referenced-by-count":0,"title":["Spacing matters: Alternative Thinking about the Nature of Space"],"prefix":"10.22501","author":[{"family":"Monica Raya","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:29Z","timestamp":1727193869000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/63183\/63184"}},"issued":{"date-parts":[[2015,3,29]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/ruu.63183","published":{"date-parts":[[2015,3,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:26Z","timestamp":1727238746209},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2024,4,22]]},"abstract":"A Master Project in Artistic Research at University of Agder. Through artistic practice and reflection, I discuss my experience of developing as a performer and DJ. I look at three different performances; a live show for Klubb Kosmos, one for the Master Concert and finally a hybrid set at the Cornerteateret. I highlight non-male pioneers and perspectives from the history of club music and music production. The research project provides insight into my artistic practice and reflections on how the development of a hybrid performance can unfold.\n \nMasterprosjekt i kunstnerisk utviklingsarbeid ved Universitetet i Agder. Gjennom kunstnerisk praksis og refleksjon diskuterer jeg min erfaring og utvikling som ut\u00f8ver og DJ. Jeg viser til tre forskjellige opptredener; et liveshow for Klubb Kosmos, ett for Masterkonserten og til slutt et hybridsett p\u00e5 Cornerteateret. Jeg trekker frem ikke-mannlige pionerer og perspektiver fra klubbmusikken og musikkproduksjonens historie. Forskningsprosjektet gir innsikt i min kunstneriske praksis og refleksjoner rundt hvordan utviklingen av en hybrid performance kan utfolde seg.<\/jats:p>","DOI":"10.22501\/uia.2460519","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:13Z","timestamp":1727194093000},"source":"Crossref","is-referenced-by-count":0,"title":["The Hybrid Performance. Exploring the realm between DJ- and Live-sets"],"prefix":"10.22501","author":[{"family":"Brita Urstad Toft","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:13Z","timestamp":1727194093000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2460519\/2460520"}},"issued":{"date-parts":[[2024,4,22]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.2460519","published":{"date-parts":[[2024,4,22]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:27Z","timestamp":1727238747106},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2022,6,24]]},"abstract":"A search for new forms of identity programs for places; with emphasis on democracy and non-commercial resources. Research fellow project (2011), the Norwegian Artistic Research Programme.<\/jats:p>","DOI":"10.22501\/kmd-ar.333866","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T13:19:01Z","timestamp":1684761541000},"source":"Crossref","is-referenced-by-count":0,"title":["KVA(M) NO"],"prefix":"10.22501","author":[{"family":"Linda H. Lien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:07:29Z","timestamp":1727194049000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/333866\/333867"}},"issued":{"date-parts":[[2022,6,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.333866","published":{"date-parts":[[2022,6,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:29Z","timestamp":1727238749142},"posted":{"date-parts":[[2018,4,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The language of art is often poetic and abstract. \nReduced and lawless in terms of grammar. I experience the poetic and abstract language as closer to the experienced world than the more concrete and descriptive language that is the norm in the majority of formulations in society. In my artistic practice at the moment, I work with color, movement and time. In the video medium. To say that art is a language is also an assertion, or a worn metaphor. We have no written language rules we agree upon in the arts, no defined alphabet. And maybe that's exactly what the making of art is? Creating form, while challenging form? Being the practitioner, and in that sense defining, in a landscape of concrete and abstract, in definite and indefinite and fluid and solid.\nTo create while shaping the form of it, is something else than performing within a given formation.\nThis contribution to a digital catalogue for artistic research are selections of my work, and thoughts, related to it translated into pieces of texts.\nSome pieces of text along with some video pieces as well as a print from a video, a so-called 'still'. They are selected to function in different constellations, and for several reasons. A collage as a method and a way to relate to my own work, and with the selection, emphasizes the content of the texts. I apply my own thesis discussed in the text upon my contribution 'here' *. My contribution appears in Vis \u2013 Nordic Journal for Artistic Research. The digital is representation. It is not. It is equally important to me that this contributed in form acknowledges that making a presence in an internet-based database is not without hyperlinks. It appears because the other is.\n* Where is 'here', what is 'here'?\n(Video and video with sound.) \n\nThe visual material in this exposition is from the videos 'La ditt liv vitne'(2017), 'Essay on Colour'(2017) and Perceptual Cycle (2016). By Anne Marthe Dyvi.<\/jats:p>","DOI":"10.22501\/vis.392748","type":"posted-content","created":{"date-parts":[[2018,5,5]],"date-time":"2018-05-05T08:52:58Z","timestamp":1525510378000},"source":"Crossref","is-referenced-by-count":0,"title":["This is not \/ Dette er ikke"],"prefix":"10.22501","author":[{"family":"Anne Marthe Dyvi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:17Z","timestamp":1727194157000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/392748\/392749\/192\/50"}},"issued":{"date-parts":[[2018,4,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/vis.392748","published":{"date-parts":[[2018,4,8]]},"subtype":"preprint"},{"institution":[{"name":"Universitetet i Bergen","acronym":["UiB"],"place":["Bergen"],"department":["KMD"]}],"indexed":{"date-parts":[[2024,2,20]],"date-time":"2024-02-20T09:37:46Z","timestamp":1708421866417},"reference-count":0,"publisher":"Universitetet i Bergen KMD","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/kmd-ar.1161900","type":"report","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:35:30Z","timestamp":1623054930000},"source":"Crossref","is-referenced-by-count":2,"title":["Chattopadhyay"],"prefix":"10.22501","author":[{"family":"Chattopadhyay","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,1,1]]},"deposited":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:35:30Z","timestamp":1623054930000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1161900\/1161901"}},"issued":{"date-parts":[[2021,1,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1161900","published":{"date-parts":[[2021,1,1]]}},{"indexed":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T05:20:21Z","timestamp":1741324821720,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T00:00:00Z","timestamp":1741219200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The art of Raoul Servais is concerned with the most serious criticisms of 1968 and looks for the freedom and justice that humans pursue, touch a lot of areas and contexts from religion to science, mythology to science fiction, psychology to culture: authoritarian regimes that eliminate science; armies trying to sweep colors from the world; executives trying to share the body of a dead mermaid; filmmakers trying to be faster than their shadows; bosses who incorporate hippies' colorful ideas into their own benefits; 'super powers' that invite people to religion with theocratic gas bombs. Consumption, technology, authority, unhappiness and lost meaning woven with commodity values.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3499690","type":"posted-content","created":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T17:41:14Z","timestamp":1741282874000},"source":"Crossref","is-referenced-by-count":0,"title":["Colors and Shadows in Raoul Servais\u2019 Animations"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T17:41:14Z","timestamp":1741282874000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3499690\/3499689"}},"issued":{"date-parts":[[2025,3,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3499690","published":{"date-parts":[[2025,3,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:40:32Z","timestamp":1741333232843,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Intervju av Jo Gunnar H\u00e5konsen og Tanja Marie Gjerde ansatt p\u00e5 Feiring Bruk AS.<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, clay, blueclay, artistic resaerch, brick industry, brick history, ekstraktiv industri, extractive industries, leireuttak, leiremottak, feiring bruk as, steinbrudd, materialeverdi<\/jats:p>","DOI":"10.22501\/rc.2945330","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:07:48Z","timestamp":1741331268000},"source":"Crossref","is-referenced-by-count":0,"title":["Samtale med jo Gunnar H\u00e5konsen og Tanja Marie Gjerde p\u00e5 Feiring Bruk AS"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:07:48Z","timestamp":1741331268000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2945330\/2945210"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2945330","published":{"date-parts":[[2025,3,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,7,5]],"date-time":"2024-07-05T00:17:49Z","timestamp":1720138669187},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/i2ads","type":"journal","created":{"date-parts":[[2024,7,4]],"date-time":"2024-07-04T14:49:22Z","timestamp":1720104562000},"source":"Crossref","is-referenced-by-count":0,"title":["i2ADS - Research Institute in Art, Design and Society"],"prefix":"10.22501","member":"9794","deposited":{"date-parts":[[2024,7,4]],"date-time":"2024-07-04T14:49:22Z","timestamp":1720104562000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/i2ads.up.pt\/en\/"}},"short-title":["i2ads"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads"},{"indexed":{"date-parts":[[2024,12,14]],"date-time":"2024-12-14T19:10:13Z","timestamp":1734203413278,"version":"3.30.2"},"posted":{"date-parts":[[2024,12,14]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is a playground to explore RC function. I would like to use Abstract as a into\/ summary for this expo.<\/jats:p>","DOI":"10.22501\/rc.3023205","type":"posted-content","created":{"date-parts":[[2024,12,14]],"date-time":"2024-12-14T18:41:46Z","timestamp":1734201706000},"source":"Crossref","is-referenced-by-count":0,"title":["testing Y1 RC function"],"prefix":"10.22501","author":[{"family":"Hoai Tran","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,14]],"date-time":"2024-12-14T18:41:47Z","timestamp":1734201707000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3023205\/3023206"}},"issued":{"date-parts":[[2024,12,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3023205","published":{"date-parts":[[2024,12,14]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,17]],"date-time":"2024-12-17T05:04:58Z","timestamp":1734411898149,"version":"3.30.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2024,12,16]]},"abstract":"\"Odd New Spring: Towards Evolving Landscapes and a Reorientation in Design Practice\" is an artistic research PhD project that explores methods for designers to engage with local environments, interdisciplinary communities, and professional fields in new ways. The project repositions unwanted plants, specifically Invasive Alien Plant Species, as a foundation for knowledge creation and new local activities. This approach challenges the perception of these plants as strictly agonistic and reframes them in the context of sustainability, production, and resource management. Through the artistic practice, the plants are connected to stories from the past and visions for the future, encouraging reflection on current classifications and relations.\n\nThe work culminated in the exhibition \"Odd New Spring\" at the University Museum in Bergen's Natural History Collections. Here, experimental artefacts, storytelling objects, interdisciplinary dialogues, and reflections point towards a new design position. The project envisions the designer as a bridge-builder across disciplines, fostering sustainable practices and coexistence within local landscapes.\n\nSupervised by Mette L'orange (architect MNAL and visual artist) and Tim Parry-Williams (Professor of Art: Textiles, KMD).\n\nPhoto: Odd New Spring 2024, Siren Elise Wilhelmsen<\/jats:p>","DOI":"10.22501\/kmd-ar.3105348","type":"journal-article","created":{"date-parts":[[2024,11,13]],"date-time":"2024-11-13T14:26:56Z","timestamp":1731508016000},"source":"Crossref","is-referenced-by-count":0,"title":["Odd New Spring: Towards Evolving Landscapes and a Reorientation in Design Practice (2024)"],"prefix":"10.22501","author":[{"family":"Siren Elise Wilhelmsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T08:17:46Z","timestamp":1734337066000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3105348\/3105349"}},"issued":{"date-parts":[[2024,12,16]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.3105348","published":{"date-parts":[[2024,12,16]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:05Z","timestamp":1733202785053,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"07","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,6,26]]},"abstract":"This paper will discuss acousmatic music as a simultaneously musical and narrative art form. Acousmatic narrative will be considered from the dual perspectives of the composer and the listener, and we will investigate some of the differences between these, and some of the mechanisms at play. A case will be made for the act of acousmatic composition as an ideal site for exploration and research into narrative processes. The composition and reception of the author's work D\u00e9chirure will be used as an illustrative example.<\/jats:p>","DOI":"10.22501\/jss.86118","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:22Z","timestamp":1733149642000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound and Narrative: Acousmatic composition as artistic research"],"prefix":"10.22501","author":[{"family":"James Andean","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:22Z","timestamp":1733149642000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/86118\/86119"}},"issued":{"date-parts":[[2014,6,26]]},"references-count":0,"journal-issue":{"issue":"07"},"URL":"https:\/\/doi.org\/10.22501\/jss.86118","published":{"date-parts":[[2014,6,26]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:09Z","timestamp":1733202789275,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2024,4,4]]},"abstract":"Mollusc gleaning in the Sine-Saloum Delta, Senegal, hinges on the situated navigation of a deltaic world in flux. It unfolds both above and below water as well as in the mud and is crucially guided by haptic engagement, which in turn generates sound. Audio\/visual inquiry into gleaning explores the sensuality of this haptic engagement and its more-than-human dimensions. Haptic sound, as this article traces, has thereby been key. Indexing to touch and how it creates contact with the self and with the other, haptic sound affords proximity. At the same time, it points beyond the all-knowing and all-sensing self by probing intensities and making us aware of resistance and impenetrability. As such, haptic sound evolves at a limit and harbors excess. In the recordings from the delta, haptic sound is also conveyed by the \u201cindeterminate\u201d and the ways tones and sounds mix and interchange and are difficult to localize and categorize; by the \u201cdisproportionate\u201d and the ways the sound of touch is amplified and appears as \u201ctoo loud\u201d; or by the \u201cimperfect\u201d and the ways sound is grainy, overdriven, distorted, dull, piercing, full of static hiss or windy, and so forth. Thereby, the materiality of recording devices and the constructiveness of mediation with all its affordances and limitations become palpable as well. Haptic sound, this article concludes, is thus touching and, in this touching, evokes both more-than-human sensitivity and alterity. In mobilizing both experience and reflection, it ruptures anthropocentrism and ultimately opens up pathways to reconsider both anthropology and cinema as well as audio\/visual practice in general with an ear to an embodied multispecies conviviality.<\/jats:p>","DOI":"10.22501\/jss.1713228","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:24:44Z","timestamp":1733149484000},"source":"Crossref","is-referenced-by-count":0,"title":["Touching Excess: Haptic Sound from the Multispecies Delta"],"prefix":"10.22501","author":[{"family":"Sandro Simon","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:24:44Z","timestamp":1733149484000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1713228\/1713229"}},"issued":{"date-parts":[[2024,4,4]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jss.1713228","published":{"date-parts":[[2024,4,4]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:12Z","timestamp":1733202792447,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,29]]},"abstract":"This is an account of personal sound space, a way of describing the auditory environment of an individual that emphasizes their conscious participation in a dynamic social exchange within that space, which is meant as a theoretical groundwork for further empirical research. The concept draws on ideas from across cultural studies to articulate a form of individualized auditory experience latent in the discourse. The term is structured into sound space, personal space and personal sound, whose concepts are explored individually as well as integrated in the collective term. Sonic experience is framed as a dynamic spatial-social complex whose conceptualization involves culturally informed ideas of territory and authority. This is compounded by attitudes of property and agency reinforced by the proliferation of personal audio technologies.<\/jats:p>","DOI":"10.22501\/jss.223095","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:00Z","timestamp":1733149560000},"source":"Crossref","is-referenced-by-count":0,"title":["The Consideration of Personal Sound Space: Toward a Practical Perspective on Individualized Auditory Experience."],"prefix":"10.22501","author":[{"family":"Elen Fluegge","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:01Z","timestamp":1733149561000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/223095\/223096"}},"issued":{"date-parts":[[2018,6,29]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.223095","published":{"date-parts":[[2018,6,29]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:12Z","timestamp":1733202792559,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"03","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Multichannel Television Sound (MTS) is an innovation that brought new dimensions in sound to American television from the 1980s to the 2000s. This article explores the brief history of MTS and its rise to prominence, with a particular focus on both the early \u201cexperimental\u201d years of MTS sound and its short-lived \u201cgolden era.\u201d The article concludes with an evaluation of the lasting impact of the technological shift from monaural to multichannel sound design. Although there were numerous technical and industrial challenges to MTS sound, its introduction was essential to the development of television sound design prior to the introduction of Digital and Dolby surround sound in the early 2000s.<\/jats:p>","DOI":"10.22501\/jss.252502","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:51Z","timestamp":1733149551000},"source":"Crossref","is-referenced-by-count":0,"title":["The Legacy of Broadcast Stereo Sound: The Short Life of MTS, 1984-2009"],"prefix":"10.22501","author":[{"family":"David Sedman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:51Z","timestamp":1733149551000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/252502\/252503"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"03"},"URL":"https:\/\/doi.org\/10.22501\/jss.252502","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T18:10:22Z","timestamp":1732644622629,"version":"3.28.2"},"posted":{"date-parts":[[2023,3,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"How to document music with non-sonic elements? Or: How to document all the performative qualities of a piece of music that can\u2019t be heard? Beginning with this question our group of researchers, filmmakers and dramaturgs from Birmingham (UK), Frankfurt (Germany) and Fredrikstad (Norway) met between 2019 and 2021 to develop initial ideas and questions, then test them.<\/jats:p>","DOI":"10.22501\/rc.1363394","type":"posted-content","created":{"date-parts":[[2023,3,28]],"date-time":"2023-03-28T18:21:11Z","timestamp":1680027671000},"source":"Crossref","is-referenced-by-count":0,"title":["Documenting Non-Sonic Music"],"prefix":"10.22501","author":[{"family":"Paul Norman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Michael Wolters","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Andy Ingamells","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:51:28Z","timestamp":1732643488000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1363394\/1363395"}},"issued":{"date-parts":[[2023,3,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1363394","published":{"date-parts":[[2023,3,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:40:25Z","timestamp":1732642825989,"version":"3.28.2"},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"On Saturday 11th March 2017, forty people responded to an open invitation to conduct the Salvation Army brass band at the Ashley Road citadel in St Paul's, Bristol. No prior musical experience was necessary. Together, over the course of the day, a new piece of music was created.\n\nThe aim of this research was to explore alternative ways of being a composer by:\n-collaborating with a performing ensemble that is tied to a specific locality;\n-engaging with the history and traditions of the organisation associated with the ensemble; \n-including the wider community of that locality as participants in the creative process. \n\nThe project culminated in the creation of the 3-minute video and 42-page printed publication through an extensive process of selection, re-presentation and re-performance.<\/jats:p>","DOI":"10.22501\/rc.966068","type":"posted-content","created":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T16:45:21Z","timestamp":1608309921000},"source":"Crossref","is-referenced-by-count":0,"title":["Up Down Left Right"],"prefix":"10.22501","author":[{"family":"Andy Ingamells","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:07:04Z","timestamp":1732640824000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/966068\/966070"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.966068","published":{"date-parts":[[2020,12,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:09Z","timestamp":1727194209471},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,4,30]]},"abstract":"Name: Alba Conejo Mangas.\n\nMain subject: Historical violin.\n\nResearch supervisor: Wouter Verschuren.\n\nTitle of the research: Juan Manuel Gait\u00e1n y Arteaga, the \"influenced\" musician.\n\nResearch question: Is it possible to distinguish the influence of pre-flamenco in the villancicos of Juan Manuel Gait\u00e1n y Arteaga?\n\nSummary of results: During my research, I never imagined finding music from Lima or Guatemala composed by Juan Manuel Gait\u00e1n y Arteaga, a musician from C\u00f3rdoba, Spain, in the XVIII century, who had never been in these places. This discovery presented an interesting challenge: to bring back to life scores that had been forgotten for over two hundred years and to explore the music played in C\u00f3rdoba Cathedral during the middle of the XVIII century.\nMy interest on Juan Manuel Gait\u00e1n y Arteaga started when I listened to a beautiful villancico \"Voy buscando mi cordero\" by Gait\u00e1n y Arteaga, performed by La Orquesta Barroca de Sevilla with Enrico Onofri. Despite being sacred music composed for the church and for weekly mass, it was written in Spanish and carried a distinct Spanish folkloric flavour. Did Juan Manuel Gait\u00e1n y Arteaga have a connection with XVIII century Spanish folk music? This caught my attention and spurred me to delve deeper into his music, particularly his villancicos. I soon realized how little-known Juan Manuel's music is today\nThe line of research I pursued falls within the realm of musicological-historical research. The musicological techniques employed include those related to musical historiography, such as the chronological organization of historical-musical events, particularly in C\u00f3rdoba. Additionally, it involves an understanding of musical compositions, forms, and styles, as well as musical aesthetics, encompassing the conception of music, its functions, and purposes.\nThe objectives are: to understand the musical personality of Gait\u00e1n y Arteaga in his villancicos and the relation between the folkloric and ecclesiastical world in Spain on XVIII C.\n\nBiography: Born in Las Palmas de Gran Canaria, she finished her modern bachelor under the guidance of Gordan Nikolic in Rotterdam. It was then, that she started her interest in historical performance. After her graduation, she studied for her baroque bachelor's in Brussels under the guidance of Ryo Terakado, and in 2022 she started her master's degree at The Hague Conservatory with professor Ryo Terakado too.<\/jats:p>","DOI":"10.22501\/koncon.2658087","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:15Z","timestamp":1725921375000},"source":"Crossref","is-referenced-by-count":0,"title":["Juan Manuel Gait\u00e1n y Arteaga, the influenced musician [final]"],"prefix":"10.22501","author":[{"family":"Alba Conejo Mangas","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:03Z","timestamp":1727193303000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2658087\/2658923"}},"issued":{"date-parts":[[2024,4,30]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2658087","published":{"date-parts":[[2024,4,30]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:03Z","timestamp":1727194203081},"posted":{"date-parts":[[2023,12,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Hoe kan ik vanuit mijn vakgebied bijdragen aan een betere communicatie op stressvolle en emotionele momenten?<\/jats:p>","DOI":"10.22501\/rc.2348066","type":"posted-content","created":{"date-parts":[[2023,12,4]],"date-time":"2023-12-04T11:23:15Z","timestamp":1701688995000},"source":"Crossref","is-referenced-by-count":0,"title":["Minor Creative Research for Change - Veerle van Boom"],"prefix":"10.22501","author":[{"family":"Veerle van Boom","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:58Z","timestamp":1727192518000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2348066\/2348067"}},"issued":{"date-parts":[[2023,12,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2348066","published":{"date-parts":[[2023,12,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:12Z","timestamp":1727238612278},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,19]]},"abstract":"The French composer Charles Valentin Alkan (1813-1888) was a major pianist and composer. Alkan\u2019s life was characterized by long periods of isolation and, when combined with his modest and rather shy nature, is probably the reason why his music, right up to the present day, has never gained much recognition. I chose to conduct my research using the longest and most challenging piece he wrote for piano as regards musicality and technique: the Concerto Op. 39, \u00e9tude 8 from The Twelve Etudes in Minor Keys. The main question I asked in my research was: how can I best perform this piece? \u2028Alkan narrowly missed being appointed head of the piano department of the Conservatoire in Paris and, although he had many private pupils, very little remained about how his work should be performed. The objective of my research is twofold. \u2028First, I wanted to study the piece, and I also wanted to perform it. I have submitted my registration of a performance of the piece as part of this research. \u2028The second objective was to devise something akin to a \u2018manual\u2019, which could help other students learning how to play this piece, and which would give insight into the way I approached playing it. The manual shows the score in its entirety with annotations visible in certain places, which contain relevant information. This information consist of audio recordings, video clips, texts or exemplary notes and is related to everything in the context of the performance.\u2028<\/jats:p>","DOI":"10.22501\/koncon.298586","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T14:49:47Z","timestamp":1727189387000},"source":"Crossref","is-referenced-by-count":0,"title":["Alkan's Concerto op. 39"],"prefix":"10.22501","author":[{"family":"Gerard Bouwhuis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T14:49:48Z","timestamp":1727189388000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/298586\/298587"}},"issued":{"date-parts":[[2018,9,19]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.298586","published":{"date-parts":[[2018,9,19]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:18Z","timestamp":1727238678738},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,9,3]]},"abstract":"I have always felt curious about the time periods between composers such as Antonio Soler or Domenico Scarlatti, belonging to the first half of the 18th century, and others like Enrique Granados, Isaac Albeniz or Manuel de Falla, who were active between the end of the 19th-century and the first half of the 20th-century.\nDuring the last decades, research has been done about some of the most important composers of this period. Among all of them, Pedro P\u00e9rez de Alb\u00e9niz (1795-1855) stands out. His importance as a composer and, above all, as a teacher was fundamental in creating a solid and successful piano school in Spain. His pianism is inspired, in order of increasing importance, by Spanish folklore, Italian opera and the pianistic writing and resources used in 19th-century Paris, and is influenced by two capital figures: Friedrich Kalkbrenner (1785-1849) and Henri Herz (1803-1888).\nFinally, his fantasies are the most ambitious works of his catalog. They are the ones that best exhibit the characteristics of his pianistic language. They are essential to understanding where Pedro Alb\u00e9niz can be placed within the Spanish piano literature and illustrate how deep Romanticism had come at this time in the context of the Spanish piano.<\/jats:p>","DOI":"10.22501\/koncon.414888","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:42:39Z","timestamp":1725921759000},"source":"Crossref","is-referenced-by-count":0,"title":["Pedro P\u00e9rez de Alb\u00e9niz: Fortepiano Fantasies"],"prefix":"10.22501","author":[{"family":"Juli\u00e1n Turiel Lobo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:09Z","timestamp":1727193429000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/414888\/414889"}},"issued":{"date-parts":[[2019,9,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.414888","published":{"date-parts":[[2019,9,3]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:19Z","timestamp":1727238679828},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,4]]},"abstract":"Abstract\n\nHarmony on the violin \u2013 exploring ways to enhance harmonic awareness by improvisation. How can playing with basic elements of classical music help us to enter the music we perform \u2018from within\u2019, to enjoy the creative moment in connection with the repertoire we know so well and love so much, to \u2018co-compose\u2019\u2026 How can (tonal) improvisation be an aid to learn about harmony in a way that experience comes first, using, in this research, the violin as our voice? \n\nIn this research my aim has been to create a toolbox of games\/exercises that can be used working in the above mentioned way. At the same time the exploratory journey of the research proved to be a transformative experience with regard to my own relationship with the music I play, love and teach. In this paper those two threads \u2013 the development of educational material and the testing out of it on the one hand and my personal development as a violinist and musician on the other hand - are constantly intertwined. The one cannot do without the other.\n\nThis paper is a report of all activities that added to the above mentioned two processes. The report will guide you through the origins of the research, the rich input of colleagues, masters and books on the subject, a report of the practising, imagining, exploring hours spent by myself in my garden house, information on the enjoyable sessions when trying out the material with students. At the centre of the paper you will find the games and exercises themselves \u2013 the content of the toolbox, called \u2018Invitations\u2019. A closer look at certain aspects of the research is found in Chapter 5 \u2013 Behind the scene. The paper will finish with a set of recommendations and conclusions and \u2013 above all \u2013 future plans.\n\nI do hope you will enjoy this research \u2013 a research into methods that can be used to let the playing from musical intuition and the building of harmonic consciousness meet. In doing so, enjoying the richness, benefits and pleasure that musical improvisation has to offer in music education.<\/jats:p>","DOI":"10.22501\/koncon.235432","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:46:19Z","timestamp":1725921979000},"source":"Crossref","is-referenced-by-count":0,"title":["Harmony on the violin - internalising harmony for violinists and the role of (tonal) improvisation"],"prefix":"10.22501","author":[{"family":"Liesbeth Ackermans","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:58Z","timestamp":1727193478000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/235432\/235433"}},"issued":{"date-parts":[[2017,9,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.235432","published":{"date-parts":[[2017,9,4]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:20Z","timestamp":1727238680256},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Raquel Garz\u00e1s Garc\u00eda-Pliego\n\nMain Subject: Classical Piano\n\nResearch Supervisor: Anna Scott\n\nTitle of Research: Transcribing Rachmaninoff\u2019s Variations on a Theme of Corelli for Orchestral Ensemble\n\nResearch Question:\n\nCan creating orchestral transcriptions of this piano piece confirm or change current perceptions of its character and meaning; and can studying the relationship between the orchestral and piano duo versions of Rachmaninoff's Symphonic Dances help inform my arrangements of his Variations? \n\nSummary of Results:\n\nThis research paper focuses on the process and effects of creating orchestral transcriptions of Sergei Rachmaninoff's piano work Variations on a Theme of Corelli. The goal of this research has been to build more than one orchestral version of some of these variations in order to help piano students (as well as myself) arrive at more than one interpretation of the piece. In order to explore this idea of interpretive multiplicity and flexibility in the Variations, I based my transcription process on Rachmaninoff's Symphonic Dances: a work that the composer produced first for orchestra and afterwards for piano duo. During my analysis of the Symphonic Dances I tried to understand the composer's view of the relationship between orchestral and pianistic timbres so that I could then apply similar characteristics to my own transcriptions.\nAs pianists we are frequently asked to think and play orchestrally, but sometimes we do not have the inspiration or tools to experiment with new sonorities and modes of sound production. In making these transcriptions, I have been able to explore and expand my own relationship with this work, while also opening up my mind to the interpretive possibilities inherent in other familiar piano works. In my presentation I will highlight elements of my analysis and transcription process before demonstrating their effects on my interpretation of Rachmaninoff's Variations at the piano.\n\nBiography:\n\nRaquel Garz\u00e1s was born in Spain in 1992. After finishing her Bachelor Degree in Zaragoza, Spain, she continued her studies by pursuing a Master's Degree at the Koninklijk Conservatorium in Den Haag with David Kuyken. Raquel has a special affinity for chamber and contemporary repertoires, and is a member of the chamber group Camus Trio. In recent years she has performed as a soloist with several orchestras, including the \"Chamber Music Orchestra Andr\u00e9s Segovia\" together with the \"Orfe\u00f3n Donostiarra\" in the National Auditorium of Madrid.<\/jats:p>","DOI":"10.22501\/koncon.215245","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:45:31Z","timestamp":1725921931000},"source":"Crossref","is-referenced-by-count":0,"title":["Transcribing Rachmaninoff\u2019s Variations on a Theme of Corelli for Orchestral Ensemble."],"prefix":"10.22501","author":[{"family":"Raquel Garz\u00e1s Garcia-Pliego","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:52Z","timestamp":1727193472000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/215245\/341248\/1"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.215245","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:22Z","timestamp":1727238682432},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"PhD project: A garden for a fish, Supervisor: Virgil Widrich\n\nEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>","DOI":"10.22501\/envelo.2105246","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T22:13:34Z","timestamp":1714083214000},"source":"Crossref","is-referenced-by-count":0,"title":["about fish, gardens, gardening and a gardener"],"prefix":"10.22501","author":[{"family":"Margit Busch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:20Z","timestamp":1727193920000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2105246\/2105244"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2105246","published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:28Z","timestamp":1727238688671},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2023,5,23]]},"abstract":"In the field of photography, the term hologram is defined as: \"a three-dimensional image reproduced from an interference pattern produced by a split coherent beam of rays.\" Relating the above statement to the genre of music, the closest we can come to explaining the hologram is to consider the phenomenon of combination tones. Combination tones are the ghost sounds created in the inner ear when two different tones are played simultaneously.\nHolographic Composition Technique is a term I coined specifically for my practice of the compositional path. It is a technique based on two main themes in music that interest me most: psychoacoustics, and the world of microtonality, with the biggest influence being the world of Just Intonation and non-Western tuning systems.\n\nAs someone fascinated by physics and mathematics, both psychoacoustics and microtonality are very attractive sources of inspiration. My interest in microtonality encompasses all kinds of approaches: different temperament systems, Just Intonation techniques, non-octave subdivisions or the so-called \"traditional non-Western\" practices. Nevertheless, I will focus on Iranian microtonality, especially the tuning systems written by Persian polymaths between the 9th and 15th centuries, with a focus on the works of F\u0101r\u0101bi (10th century), Ibn Sin\u0101 (10th century) and Safiaddin Ormavi (13th century).\n\nThis research intends to connect the world of psychoacoustics, the medieval Iranian tuning systems, and the Radif of classical Iranian music, in an attempt to combine them as material for compositional practice. I categorise various tunings of the medieval thinkers and polymaths who were active in the vast territories of the Middle East, and show ways in which this material can be used in contemporary music to create a personal fusion of the manifestations of the Orient and Occident in music.<\/jats:p>","DOI":"10.22501\/nmh-ar.1092359","type":"journal-article","created":{"date-parts":[[2023,5,23]],"date-time":"2023-05-23T08:34:54Z","timestamp":1684830894000},"source":"Crossref","is-referenced-by-count":0,"title":["Holographic Composition Technique"],"prefix":"10.22501","author":[{"family":"Idin Samimi Mofakham","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:23Z","timestamp":1727194103000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1092359\/1871366"}},"issued":{"date-parts":[[2023,5,23]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1092359","published":{"date-parts":[[2023,5,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:31Z","timestamp":1727238691894},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,3,15]]},"abstract":"\u2019Naturfilm\u2019 (nature film) consist of three image based essays that reflect on the relation between mankind and nature in Swedish classical nature documentaries, and also on modernity\u2019s negotiation of the separation of nature and human culture by large. The essays include reflections on landscape, natural resources, species and gender relations, indigenous cultures and media materiality. The essays combine images and voice-over, more specifically a series of drawings of still images from existing film footage combined with fragmentary reflections on the images as media inscription and representation.\nThe essays are media transformations of existing Swedish documentary films from the peak of the classical era, namely from the late 1930s until the early 1950s. In an ecological context, this period represents what is labeled \u2018the great acceleration\u2019, an increased exploitation of natural resources, and to some extent an intensified separation of nature and human activities.<\/jats:p>","DOI":"10.22501\/vis.998626","type":"journal-article","created":{"date-parts":[[2021,3,14]],"date-time":"2021-03-14T23:08:50Z","timestamp":1615763330000},"source":"Crossref","is-referenced-by-count":0,"title":["Naturfilm"],"prefix":"10.22501","author":[{"family":"Elisa Rossholm","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Anna Sofia Rossholm","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:53Z","timestamp":1727194133000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/998626\/998627"}},"issued":{"date-parts":[[2021,3,15]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/vis.998626","published":{"date-parts":[[2021,3,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:15Z","timestamp":1727238615373},"posted":{"date-parts":[[2023,7,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Practice as\/is Research project<\/jats:p>","DOI":"10.22501\/rc.2214781","type":"posted-content","created":{"date-parts":[[2023,7,1]],"date-time":"2023-07-01T18:44:38Z","timestamp":1688237078000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring the Gap in Research"],"prefix":"10.22501","author":[{"family":"Jennifer Harman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:44Z","timestamp":1727192564000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2214781\/2214782"}},"issued":{"date-parts":[[2023,7,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2214781","published":{"date-parts":[[2023,7,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:26Z","timestamp":1727238626616},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"This exposition proposes a method of artistic research that uses (and disobediently misuses) techniques of reconstruction as a mode of performative, artistic, and architectural invention. Our speculative notion of reconstruction challenges inherited disciplinary notions of historiography and simultaneously functions as a propositional and generative tool. The exposition revolves around the discussion of a research and performance project entitled Jakob K., which reconstructs the works of fictional Bauhaus choreographer and gymnastics teacher Jakob Klenke (1874\u20131941). This reconstruction was the product of a collaboration between performance artists and architectural researchers, involving field work, site-specific re-enactment, 3D scanning, animation, and digital fabrication, and culminated in a series of live performances at Kampnagel (Hamburg) and during the 2019 Bauhaus 100 centennial. \nThe exposition is structured around a series of multimedia sections, each of which departs from an element of the performance\u2019s architectural and medial framing, describes aspects of the artistic research process, and uses these as a lens for theoretical reflection. In analogy to our working method, which created the project as an ongoing layering of spatial and choreographical \u2018evidence\u2019, this method of discussing the project consecutively adds layers and connections to the project-assemblage that is Jakob K. Throughout the exposition, a practice emerges that challenges notions of solely human-authored and human-centred design and performance; proposes a set of techno-speculative training practices while challenging historical discourses on body optimisation; and subverts disciplinary uses of technology, prescriptive logics of representation, and techniques of reconstruction, misusing them instead in disobedient ways and reinventing them as creative affordances that can challenge dominant techniques of power.<\/jats:p>","DOI":"10.22501\/jar.1159573","type":"journal-article","created":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T09:15:41Z","timestamp":1687770941000},"source":"Crossref","is-referenced-by-count":0,"title":["On the Indeterminate Training Technologies of a Reconstructed Bauhaus Choreographer. A Research Practice Between Speculative Historiography, Architectural Invention, and Performative Co-enactment"],"prefix":"10.22501","author":[{"family":"Thomas Pearce","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:34Z","timestamp":1727193094000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1159573\/1267051"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jar.1159573","published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:26Z","timestamp":1727238626627},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,5,23]]},"abstract":"Absurd (derived from surdus, or deaf, in Latin): that which cannot be heard or is contradictory to reason.\n\nThis artistic research project questions the ways we work with sound, using a methodology derived from the absurd as a tool for innovation. \n\nThe scientific roots of sound as a physical phenomenon are rarely disputed, whether by sound artists, sound designers, sound technicians, or even composers. Yet this trust in the knowledge built by acousticians, so complex and yet so simple as it mostly limits the characteristics of sound to amplitude, pitch, timbre, and envelope, might lead to an incapacity to look any other way. Have we missed, as artists, the opportunity to question the underlying axioms beneath the science of sound? \n\nThis research uses a method based on the rejection \u2014 or, better, a questioning \u2014 of established rules and ideas (e.g., \u2018what if silence were a building tool with which we carved music and sounds into blocks of noise?\u2019), followed by a series of logical developments until some new technique, idea, or even form of art emerges. Such a method somehow adopts the principles behind conspiracy theories and applies them to art: absurd premises followed by logical developments. \n\nThe present exposition develops a set of three case studies built between 2017 and 2020, each one answering its own absurd question: the harvesting of rare sounds made by worms (what if silence were louder than noise?); an experiment carried out on humans, by loudspeakers sitting as members of the audience (what if there were no \u2018sweet spot\u2019?); and an attempt to blur the lines between the real and the virtual, while developing new ways to document sound art (what if there were no (virtual) reality?).\n\nCover photo for the exposition 'Absurd Sounds' by Anders Sune Berg, 2017.<\/jats:p>","DOI":"10.22501\/jar.820939","type":"journal-article","created":{"date-parts":[[2021,5,22]],"date-time":"2021-05-22T22:02:24Z","timestamp":1621720944000},"source":"Crossref","is-referenced-by-count":0,"title":["Absurd Sounds"],"prefix":"10.22501","author":[{"family":"Yann Coppier","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:58Z","timestamp":1727193118000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/820939\/821145"}},"issued":{"date-parts":[[2021,5,23]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/jar.820939","published":{"date-parts":[[2021,5,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:28Z","timestamp":1727238628506},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2018,4,11]]},"abstract":"Only the Envelope (OTE) combines several research methodologies to investigate the ways we share personal information in the public sphere. This exposition presents video and video stills as primary artefacts in a discussion about a live artwork that dramatises the act of looking. In a live art installation, a \u2018scientist\u2019 invited visitors to be involved in an \u2018experiment\u2019 \u2014\u00a0namely, viewing a film while wearing a wireless eye-tracking device. This surveillance technology generated data about viewing behaviour. However, of greater interest was investigating how engaging with OTE as creative arts research led to unanticipated findings. Also interesting were the new audiovisual documents created through a re-enactment of the visitor\u2019s experience, in which the eye-tracking device was redeployed as a head-mounted camera. In the artistic research context of OTE, the re-enacted videos led to new data being collected and analysed, leading to novel insights. These show that OTE\u2019s ironic performance of science, employing the coercive power of complex technologies, maintained rather than undermined the compliant behaviour of participants. At the same time, the artist\u2019s re-enactment of the visitor\u2019s experience makes it possible to imagine, represent, and discuss such an act of subversion by illuminating the complexity of viewing behaviour when considered within the politics of the gaze and representation. This complexity is a reflection both of the emergent nature of a process-driven creative arts research enquiry, and of the work\u2019s investigation of data retention.<\/jats:p>","DOI":"10.22501\/jar.332658","type":"journal-article","created":{"date-parts":[[2018,4,10]],"date-time":"2018-04-10T22:00:14Z","timestamp":1523397614000},"source":"Crossref","is-referenced-by-count":0,"title":["Only the Envelope: artistic interpretations of eye-tracking imagery"],"prefix":"10.22501","author":[{"family":"Vahri McKenzie","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Neil K Ferguson","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:55Z","timestamp":1727193175000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/332658\/332659"}},"issued":{"date-parts":[[2018,4,11]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jar.332658","published":{"date-parts":[[2018,4,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:28Z","timestamp":1727238628260},"posted":{"date-parts":[[2020,12,10]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"- Et kunstnerisk eksperiment<\/jats:p>","DOI":"10.22501\/rc.1084051","type":"posted-content","created":{"date-parts":[[2020,12,10]],"date-time":"2020-12-10T13:22:21Z","timestamp":1607606541000},"source":"Crossref","is-referenced-by-count":0,"title":["BETYDNINGEN AV KLANGLIGE OG VISUELLE ROM I INNSPILT MUSIKK [Mari Nesvold - 2020-12-10 14:19]"],"prefix":"10.22501","author":[{"family":"Mari Nesvold","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:51Z","timestamp":1727192871000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1084051\/1084052"}},"issued":{"date-parts":[[2020,12,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1084051","published":{"date-parts":[[2020,12,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:28Z","timestamp":1727238628622},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2013,12,16]]},"abstract":"This exposition addresses the motivation behind the recent turn in contemporary art toward displaying non-art and the work of outsiders. It begins by providing an alternative interpretation of Marcel Duchamp's Fountain before tracing the historic roots of the vanguardist strategy of self-negation in art and its affinities with communal creativity.\n\nDeveloped from my research on artist exits, I then affirm an expanded creativity. I posit that an egalitarian art could be realised within exhibitions in which anyone can exhibit. Such a polemical outlook seeks to problematise the ownership of the identities within the field of artistic production. Ultimately it seeks to further the egalitarian drive in contemporary culture and encourage a reconsideration of set identities.\n\nHowever, these assumptions will in turn be problematised as the research is driven by Theodor Adorno\u2019s non-identity thought. This involves a rejection of strong self\u2013identification alongside a commitment to egalitarianism. Considering this, the worthwhile search for a non-identity art is forever elusive.<\/jats:p>","DOI":"10.22501\/jar.27283","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T09:52:34Z","timestamp":1492422754000},"source":"Crossref","is-referenced-by-count":0,"title":["Towards a Non-Identity Art"],"prefix":"10.22501","author":[{"family":"Rory Harron","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:01Z","timestamp":1727193241000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/27283\/27388"}},"issued":{"date-parts":[[2013,12,16]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/jar.27283","published":{"date-parts":[[2013,12,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:33Z","timestamp":1727238633183},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2019,1,18]]},"abstract":"An expanded notion of conversation is developed through a series of large-scale temporary installations, and used to articulate an approach to collaborative creative practice that furthers the discourse of new materialist philosophy. These collaboratively produced installations are introduced into different spaces of a singular building in an iterative engagement sustained over a period of five years. In order to engage \"conversationally\" with the building, the projects adopt and rephrase the architectural language of their environment. An expanded conversation occurs between materials, creative practitioners, and the architectural site.\n\nThis conversational approach is extended through an experimental writing project, where a \u201ccut-up\u201d writing technique functions as a third author that disrupts, complicates, and needs to be accounted for through the writing process. An iterative series of texts reflect on the ideas at play in the installations, raising new questions that are addressed in later installation projects. The built projects and the experimental writings raise larger questions about relationships between humans and surrounding environments, which unfold through our collaborative journey of creatively \u201cgetting to know\u201d a building.<\/jats:p>","DOI":"10.22501\/jar.384876","type":"journal-article","created":{"date-parts":[[2019,1,18]],"date-time":"2019-01-18T12:45:35Z","timestamp":1547815535000},"source":"Crossref","is-referenced-by-count":0,"title":["Building Material Conversations"],"prefix":"10.22501","author":[{"family":"Scott Andrew Elliott","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Chris Cottrell","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:39Z","timestamp":1727193159000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/384876\/384877"}},"issued":{"date-parts":[[2019,1,18]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/jar.384876","published":{"date-parts":[[2019,1,18]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:36Z","timestamp":1727238636838},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In 2006, together with a group of collaborators, representatives from two Cape Town-based performance companies with connections to the University of Cape Town, I set out to create a production on the history of slavery at the Cape. The production, Cargo, was first produced as part of the Spier Arts Summer Season in March 2007 in Stellenbosch and then at the National Festival of the Arts in Grahamstown and the Baxter Theatre in Cape Town later that year. Cargo is the fourth part of a series of productions based on \u2018key sites of memory\u2019 in and around the city of Cape Town. The term is taken from Pierre Nora (1989) and refers to a conglomerate of physical, material and archival sites that function to concentrate remembrance in a world in which, to paraphrase James E. Young, the more we monumentalize, the more we seem to have \u201cdivested ourselves of the obligation to remember\u201d (2000: 94). In making each of the works in the series, my collaborators and I faced two fundamental and interconnected problems related to the themes of time and silence: How to find an appropriate image in the present for something that has past and how to make the archive speak in unspeakable ways. The productions were created through a dramaturgical process based on the idea of \u2018dwelling\u2019 borrowed from the anthropologist Tim Ingold (2000) based on a question posed by Heidegger on the difference between \u2018building\u2019 and \u2018dwelling\u2019 (1971). <\/jats:p>","DOI":"10.22501\/jar.7669","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T22:37:15Z","timestamp":1497998235000},"source":"Crossref","is-referenced-by-count":0,"title":["Cargo: Dwelling in the Archive of Slavery at the Cape"],"prefix":"10.22501","author":[{"family":"Mark Fleishman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:18Z","timestamp":1727193258000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/7669\/7670"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.7669","published":{"date-parts":[[2011,11,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:40Z","timestamp":1727238640161},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,10,25]]},"abstract":"Name: Ryuko Reid\n\nMain Subject: Baroque Violin Research Supervisor: Johannes Boer\n\nTitle of Research:\nApollo\u2019s Banquet for Children: Teaching baroque music to the young violinist\n\nResearch Question:\nHow can the baroque \u201crules\u201d being used today in the field of historically informed performance practice be taught at a young age?\n\nSummary of Results:\nThe purpose of this study is to investigate what aspects of the musical language of the baroque era can be experienced from twenty songs found in John Playford\u2019s Apollo\u2019s Banquet. This is a collection of country-dances, broad street ballads, theatre tunes, tunes from Morris dancing, Scottish tunes and French dances, that were published for the amateur violinist in 1670. In this study, these songs were taught to students between the ages of 5 and 10 with activities designed to create awareness of gestures, bar hierarchy, light cadences and other important baroque features, in a fun and approachable way.\nVideos and observations of the lessons show that the repertoire was well received and the paper shows that the use of the songs provided an effective initial stage in experiencing baroque music However the students would need to be exposed to many more examples of these baroque elements before they become consciously learned. This paper also concludes that other elements of baroque music not included in this study, such as rhetorical devices and improvisation could be investigated, and exploring folk music repertoire of the seventeenth century would provide our students with a richer experience of the baroque style.\nBiography:\nRyuko Reid is a baroque violinist specialising in historically informed performance practice and is the artist director and leader of Amsterdam Corelli Collective. Ryuko works as a violin teacher in Muziekschool Amstelveen and studied the Kod\u00e1ly method at Koninklijk Conservatorium.\nShe came to study baroque violin with Sophie Gent at Conservatorium van Amsterdam and is currently finishing her masters at Koninklijk Conservatorium, with Kati Debretzeni and Walter Reiter. Before moving to Amsterdam, she studied modern violin with Jan Repko, taught at Chetham\u2019s School of Music and studied Dalcroze method in Manchester, UK.<\/jats:p>","DOI":"10.22501\/koncon.256810","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:47:06Z","timestamp":1725922026000},"source":"Crossref","is-referenced-by-count":0,"title":["Apollo\u2019s Banquet for children: Teaching baroque music to the young violinist"],"prefix":"10.22501","author":[{"family":"Ryuko Reid","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:11Z","timestamp":1727193491000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/256810\/256811"}},"issued":{"date-parts":[[2016,10,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.256810","published":{"date-parts":[[2016,10,25]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:53Z","timestamp":1727238713574},"posted":{"date-parts":[[2024,5,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This publication\/exposition is the extended version of Falk H\u00fcbner's inaugural lecture as professor of Artistic Connective Practices at Fontys Academy of the Arts. The text offers an introduction to the work of the professorship, to the ideas and concepts underpinning it and to its projects and research lines. Rather than presenting finished research, the text seeks to open ideas, insights and imagination and offer a sense of where the journey is heading. With an explicit emphasis on collectively working and thinking together, the core of the publication introduces and elaborates on the concept of artistic connective practices through the notion of three \"conceptual clouds\": practices, the artistic, and connectivity.<\/jats:p>","DOI":"10.22501\/rc.2606237","type":"posted-content","created":{"date-parts":[[2024,5,2]],"date-time":"2024-05-02T05:46:48Z","timestamp":1714628808000},"source":"Crossref","is-referenced-by-count":0,"title":["In Good Company. Think We Must."],"prefix":"10.22501","author":[{"family":"Falk Hubner","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ulla Havenga","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:20Z","timestamp":1727192480000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2606237\/2606238"}},"issued":{"date-parts":[[2024,5,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2606237","published":{"date-parts":[[2024,5,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:56Z","timestamp":1727238716753},"posted":{"date-parts":[[2024,6,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition contains six letters about the work No-Show that was performed in Reykjav\u00edk in 2020. The performance is a part of the artistic PhD research \"How Little is Enough?\" Sustainable Methods of Performance for Transformative Encounters in Malm\u00f6 Theatre Academy at Lund University. The letters address different aspects of my artistic practice and research such as motivation, method, affect, ethics and the findings. \n\nNo Show is a series of five immersive participatory performances, solitary experiences performed in five private homes in different neighbourhoods of Reykjav\u00edk in June \u2013 August 2020.<\/jats:p>","DOI":"10.22501\/rc.1301252","type":"posted-content","created":{"date-parts":[[2024,6,1]],"date-time":"2024-06-01T09:29:51Z","timestamp":1717234191000},"source":"Crossref","is-referenced-by-count":0,"title":["No Show"],"prefix":"10.22501","author":[{"family":"Steinunn Kn\u00fats \u00d6nnud\u00f3ttir","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:05Z","timestamp":1727192465000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1301252\/1301253"}},"issued":{"date-parts":[[2024,6,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1301252","published":{"date-parts":[[2024,6,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:57Z","timestamp":1727238717593},"posted":{"date-parts":[[2023,8,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"SALT is an exploration of choreography and critical humor, \n- through the study of the Avant Garde art movement Dadaism;\n- a consideration on humor studies; \n- and freedom of speech. \n\nDiving into subversive comedy, the purpose of this research was to be able to come to better contextualization and search for ways to become more bold, more playful, and knowledgeable exploring the critical thoughts that I wish to tackle in my work, through laughter. \n\nSALT, in the simplest explanation of this journey, was my search to become both funnier and more critical at the same time. \n\nFor the creation of my final performance, the dramaturgical playfield that I considered had comical and critical potential were Stress, Zebras, and lecture performance. \n\nSearching for ways to deconstruct the figure of a zebra humanoid that I had decided as the main character of the piece, I connected to standup comedy, slapstick, lecture performance and visual arts, to artists such as Ricky Gervais, Charlie Chaplin, Sergiu Matis, J\u00e9rome Bel, and Alessandro Gallo, and could appreciate and nurture myself with different approaches to my craft, critique, and humor; questioning, reconfirming, studying, and pushing this research at service of my final performance, a one woman show. \n\nIn this journey I also used guided improvisation, inspired by Gaga and Authentic Movement Technique, critical dialogues, DasArts feedback methods, reflective writing, mind mapping, mood boards, and open rehearsals to push for critical thinking. \n\nThrough Research Catalogue, I designed a universe in which all the different layers of this process could be experienced textually and visually. Research Catalogue allowed me to take some of the playfulness and boldness that I had nurtured into my artistic practice, onto the screen, and be able to invite my guests to a more immersive, hopefully joyful journey of the tragicomic, absurd universe that eventually became known as SALT. \n\nThrough this journey, I reconfirmed the power of humor, that can be used as a powerful \u201cweapon,\u201d to address and revolt against critical issues of our time. Comedy can be an empowering way into heavier material, using any extent of hilarity as a tool for breaking through the audience's emotional boundaries, celebrating and pushing forward creative and critical thinking while visiting awkward, uncomfortable corners of the human truth. Searching for a joke that is not just a joke but can travel beyond laughter and engage with a deeper layer of critical thinking is a very challenging but honorable craft to practice.<\/jats:p>","DOI":"10.22501\/rc.2010875","type":"posted-content","created":{"date-parts":[[2023,8,28]],"date-time":"2023-08-28T14:53:46Z","timestamp":1693234426000},"source":"Crossref","is-referenced-by-count":0,"title":["SALT - choreography and critical humor"],"prefix":"10.22501","author":[{"family":"Elisabeth Lambeck","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:25Z","timestamp":1727192545000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2010875\/2010876"}},"issued":{"date-parts":[[2023,8,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2010875","published":{"date-parts":[[2023,8,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:00Z","timestamp":1727238720186},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nIntense instances of sanitization from migrant labor being sprayed with disinfectants on highways to meticulous washing of all surfaces within homes every 4 hours, these practices even though inhumane became commonplace.<\/jats:p>","DOI":"10.22501\/rc.1276095","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T07:21:17Z","timestamp":1622704877000},"source":"Crossref","is-referenced-by-count":0,"title":["Sanitization practices"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:10Z","timestamp":1727192770000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1276095\/1276096"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1276095","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:01Z","timestamp":1727238721950},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nThe pandemic saw a centralized collapse of systems including healthcare, education, governance, etc. Similarly, the health insurance sector faced the burden of the pandemic especially in the second wave.<\/jats:p>","DOI":"10.22501\/rc.1282728","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T06:47:53Z","timestamp":1622702873000},"source":"Crossref","is-referenced-by-count":0,"title":["Collapsing of health insurance and mediclaims, new state policies"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:24Z","timestamp":1727192784000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282728\/1282729"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1282728","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:06Z","timestamp":1727238726517},"posted":{"date-parts":[[2017,5,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Spiridionis a Monte Carmelo\u2019s Nova instructio pro pulsandis organis [\u2026] (Bamberg, 1670) is a noteworthy source for keyboard improvisation in the south German, Italian-fashioned style. This handbook, which is located directly in Frescobaldi\u2019s legacy and which often quotes him, offers tools to master musical forms that are useful for liturgical improvisation.\u00a0 Conceived as a compendium of musical patterns, the publication contains few textual elements. It allows the player full freedom to combine, assimilate and create his own music with musical elements such as cadentiae, passaggi and canzonette.\u00a0This paper attempts to describe how such a source can be brought to life through a personal practice which involves both experience and analysis.\u00a0<\/jats:p>","DOI":"10.22501\/rc.355596","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:52:57Z","timestamp":1498067577000},"source":"Crossref","is-referenced-by-count":0,"title":["Practicing with a senventeenth century organ handbook: observations on possible approaches of P. Spiridion\u2019s Nova Instructio pro pulsandis organis (1670)"],"prefix":"10.22501","author":[{"family":"Adrien Pi\u00e8ce","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:39Z","timestamp":1727192979000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/355596\/355597\/1\/461"}},"issued":{"date-parts":[[2017,5,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.355596","published":{"date-parts":[[2017,5,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:08Z","timestamp":1727238728746},"posted":{"date-parts":[[2019,10,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201cThe sun of Russian poetry\u201d, Alexander Pushkin, wrote his novel in verse \u201cEugene Onegin\u201d from 1823 to 1831. Since then it has been regarded as a masterpiece of literature and Pushkin\u2019s key work. From the school curriculum every student is familiar with Pushkin\u2019s famous iambic tetrameter, an unusual rhyme, which is also famous as the \u201cOnegin stanza\u201d or the \u201cPushkin sonnet\u201d. But what still has been disputed by Pushkin researchers, is the query, what is it which is so unique about \u201cOnegin\u201d: is it the poetic structure of the novel, and the tempo-rhythm which the poetic structure produces while reciting and acting on stage? Or is it the national cultural content, called by the Russian critic Vissarion G. Belinsky \"the encyclopaedia of Russian life\u201d?\nThere were many attempts to interpret the novel. But to interpret Pushkin is not the same as to recite him. That is why the former director of Taganka Theatre in Moscow Yuri Lyubimov (1917-2014) staged \u201cOnegin\u201d in 2000 focusing on the tempo-rhythm of the Pushkin stanza. However, \u201cEugene Onegin\u201d remains undoubtedly \u201cthe encyclopaedia\u201d where national manners, customs, and cultural traditions from every field of life are described with brilliant virtuosity. In this connection, Alvis Hermanis\u2019 (1965-) interpretation of \u201cEugene Onegin\u201d at the Schaub\u00fchne Berlin in 2011 should be mentioned. Hermanis\nconcentrated particularly upon Russian cultural embodiment. Five actors embodied the main characters of the novel and were both its narrators and historians who allowed the audience to the backstage of Russian and European everyday life. So it was the actors themselves who embodied the \u201cencyclopaedia of Russian life\u201d in Belinsky\u2019s sense on stage. Both, Lyubimov and Hermanis, chose heterogeneous forms of mediation for their performances. In my paper I investigate mediation practices applied to preserve the tempo-rhythm on the one hand, and to reveal cultural traditions on the other.<\/jats:p>","DOI":"10.22501\/rc.50422","type":"posted-content","created":{"date-parts":[[2019,10,2]],"date-time":"2019-10-02T20:58:18Z","timestamp":1570049898000},"source":"Crossref","is-referenced-by-count":0,"title":["Mediating \"Eugene Onegin\""],"prefix":"10.22501","author":[{"family":"Viktoria Volkova","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:54Z","timestamp":1727192934000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/50422\/50423"}},"issued":{"date-parts":[[2019,10,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.50422","published":{"date-parts":[[2019,10,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:13Z","timestamp":1727238733083},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2015,12,20]]},"abstract":"This exposition documents several years of process-driven practice-as-research. The work explores themes of womanhood, embodiment, and autobiography.\n \nThroughout the exposition I argue that the embodiment of process is key to understanding practice-as-research. I propose that practice-as-research projects don't always begin with a \u2018final output\u2019 in mind. Instead, the practice of practice-as-research should be reconsidered throughout its development; it should use its potential for liminality. It is the demonstration of a \u2018living process\u2019 \u2013 living in process. However, what becomes key within the practice is a clear articulation of process, and how the research is recorded as part of that process. In this work, 'writing about practice' and performative practices are integrated, enabling a dialogue between various creative responses as well as offering access points to the research in a variety of forms.\n \nThis exposition explores ways in which we live in process through a presentation of text, visual essays, and short film and video pieces.\nThe work develops from creative artefacts and critical text into a piece of responsive writing, 'A Play of Characters'. This playtext reconsiders some of the influences in the work and explores the imagery of the whole project in a performative context.\n \nThe notion of embodiment and a 'living body of work' is developed further through the use of metaphor, in particular the metaphor of the mollusc. I use this to consider how practice evolves alongside process, 'housing' both the work and the process in both material form (the shell) and trace (the snail trail).\n \nDifferent combinations of this work have been presented as performance installations, both at the University of Portsmouth, as part of my PhD examination in 2010, and at the University of Lincoln, as part of the Gnarlfest in 2014. However, by the very nature of 'living in process' this is a work that continues to evolve and 'live' in different forms. The purpose of this exposition is to explore the work in an accessible online form \u2013 one that offers alternative platforms and sequences, creating different possibilities and readings of the practice.<\/jats:p>","DOI":"10.22501\/jar.131436","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T19:22:08Z","timestamp":1492456928000},"source":"Crossref","is-referenced-by-count":0,"title":["The slippery trail: The mollusc as a metaphor for creative practice"],"prefix":"10.22501","author":[{"family":"Karen Savage","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:26Z","timestamp":1727193206000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/131436\/213902"}},"issued":{"date-parts":[[2015,12,20]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/jar.131436","published":{"date-parts":[[2015,12,20]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:14Z","timestamp":1727238734101},"posted":{"date-parts":[[2012,2,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"BSIDES is a choreographic project that researches the concept of the refrain as is found in Gilles Deleuze and Felix Guattari philosophy book \"A thousand plateaus\". \n\nThe refrain is a rhytmic movement out and in of chaos and between different signs and codes. In its passage from one territory to the other the refrain transforms (transduces) the codes or signs that encounters.\n\nBSIDES gives form to the concept of the refrain through the actions of reciting and singing poems and songs; crossing different aesthetic territories. \n\nFrom a single performer with more than 40 years of experience on stage to a group of performers in a process of formation; from an abstract to a pop environment; and from the point of view of self invention to the one of re appropriation.\n\nLastly the refrain points to a common gesture of any artistic practice. It is a song that one sings in order to find some stability, when walking to the unstable dimensions of the unknown.<\/jats:p>","DOI":"10.22501\/rc.18164","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:49Z","timestamp":1498067749000},"source":"Crossref","is-referenced-by-count":0,"title":["BSIDES"],"prefix":"10.22501","author":[{"family":"Diego Gil","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:03Z","timestamp":1727193063000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/18164\/18165"}},"issued":{"date-parts":[[2012,2,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.18164","published":{"date-parts":[[2012,2,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:15Z","timestamp":1727238735447},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,4,27]]},"abstract":"Iconic artists\u2019 books from the 1960s and 1970s have recently been subject to numerous attempted appropriations by publishers and artists, resulting in the production of facsimiles and bootlegs of famous titles. The original versions of artists\u2019 books from the 1960s and 1970s have become scarce over time because of the relentless interest of art dealers and antiquarians, who sell the books for extraordinary prices. Outside the art and book markets, rare artists\u2019 books are mainly available for consultation in libraries or exhibited in showcases. A re-enactment tendency concerning artists\u2019 books has become a recurrent phenomena, the result or answer to the scarce status some artists\u2019 books hold today. Reviewing several re-enacted artists\u2019 books produced by artists and publishers allows their methods of appropriation to be identified and the discourses of this practice to be pursued. Written from the perspective of a graphic designer, the focus lies on visible technical aspects of book production, such as materials and production techniques, which allow comparison of the books, their makers, and their discourses. The conclusion surveys the found methods used by artists and publishers and discusses future tasks in producing and disseminating re-enacted artists\u2019 books, as well as redefining the position of graphic designers in this process.<\/jats:p>","DOI":"10.22501\/jar.231490","type":"journal-article","created":{"date-parts":[[2017,4,20]],"date-time":"2017-04-20T18:44:29Z","timestamp":1492713869000},"source":"Crossref","is-referenced-by-count":0,"title":["Copy, tweak, paste: methods of appropriation in facsimile artists' books"],"prefix":"10.22501","author":[{"family":"Rob van Leijsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:04Z","timestamp":1727193184000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/231490\/328418"}},"issued":{"date-parts":[[2017,4,27]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/jar.231490","published":{"date-parts":[[2017,4,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667358},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\nFaith- religion- spatiality - coping- hope<\/jats:p>","DOI":"10.22501\/rc.1274049","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T07:42:10Z","timestamp":1622706130000},"source":"Crossref","is-referenced-by-count":0,"title":["Faith- religion- spatiality - coping- hope"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:56Z","timestamp":1727192756000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1274049\/1274050"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1274049","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:09Z","timestamp":1727238669248},"posted":{"date-parts":[[2020,4,25]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"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. \n\nThe 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). \n\nThe 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.<\/jats:p>","DOI":"10.22501\/rc.374979","type":"posted-content","created":{"date-parts":[[2018,6,14]],"date-time":"2018-06-14T13:26:09Z","timestamp":1528982769000},"source":"Crossref","is-referenced-by-count":0,"title":["Capturing Intimacy: Translating Intimate Moments in Film"],"prefix":"10.22501","author":[{"family":"Kerstin Parth","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Claudia Walkensteiner-Preschl","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:16Z","timestamp":1727192896000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/374979\/374980"}},"issued":{"date-parts":[[2020,4,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.374979","published":{"date-parts":[[2020,4,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:46Z","timestamp":1727238646123},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2024,4,22]]},"abstract":"My research is a failed writer's failed attempt to become a literary scholar. I'm researching from the position of an amoeba in academia \u2013 at certain moments I claim to be a Trojan Horse, a Trixster, or something else subversive. But more often than not it just ends up being: failure. I write from a writing-reading position. Where my reading of literature is infiltrated by my writing practice. This exposition is based on my failed dissertation in literature, which I am now trying to recover in the form of an artistic research project. The literary dissertation is about Monika Fagerholm's novel \"Who killed Bambi?\" (2019), and my failure is the inability to be scientific and detached, to stay within the framework. In the exposition I examine this from a queer\/lesbian and neuroqueer\/autistic perspective. I start from an emotional (un)knowledge and try to distort ideas and boundaries between failure and play.<\/jats:p>","DOI":"10.22501\/vis.2468220","type":"journal-article","created":{"date-parts":[[2024,4,2]],"date-time":"2024-04-02T15:01:58Z","timestamp":1712070118000},"source":"Crossref","is-referenced-by-count":0,"title":["R\u00c5DJUREN, FLICKORNA, eller PLAY &amp; FAIL"],"prefix":"10.22501","author":[{"family":"Anna Nygren","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:35Z","timestamp":1727194115000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2468220\/2468206"}},"issued":{"date-parts":[[2024,4,22]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/vis.2468220","published":{"date-parts":[[2024,4,22]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:47Z","timestamp":1727238647711},"posted":{"date-parts":[[2024,8,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"On March 14th 2023 took place the 1st seminar, \"Seeing the invisible\" of the project \"[in]visible - [in]visibility of identities in Portuguese 1st-grade elementary textbooks of Social & Environmental Studies after 1974\", at the Faculty of Fine Arts of the University of Porto (Portugal). For the reflection and critical analysis of the illustration works, there was the participation of the illustrators J\u00falio Dolbeth, Rui Vitorino Santos, Samuel Moura, the guests Catarina Casais, Daniela Fraga Gomes, In\u00eas Capelo, Joana Carneiro, and in addition to the team, the external consultant Fernando Hern\u00e1ndez-Hern\u00e1ndez (U. Barcelona). Cristina Ferreira and Fabr\u00edcio Fava took photographs. Through practical and creative proposals, the seminar aimed to think and problematize the illustration in 1st-grade elementary Social & Environmental Studies textbooks published in Portugal in the last 2 decades.<\/jats:p>","DOI":"10.22501\/i2ads.2090411","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T15:34:54Z","timestamp":1725550494000},"source":"Crossref","is-referenced-by-count":0,"title":["[in]visible_seeing the invisible"],"prefix":"10.22501","author":[{"family":"Margarida Dias","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Maria Lurdes Gomes","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:18Z","timestamp":1727194158000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2090411\/2090412"}},"issued":{"date-parts":[[2024,8,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.2090411","published":{"date-parts":[[2024,8,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,10,9]],"date-time":"2024-10-09T04:23:11Z","timestamp":1728447791470},"posted":{"date-parts":[[2024,10,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Two men, one score, two saws, one falls. Propelled by their inability to let go, these two men dash to rush with all they have got to grab anything they find that can help them keep on going. This is just another example; an otherwise obsessive, geeky score with the most expected outcome. Immersed within the world of Steve Reich, their goal is to find the human within the mathematical function of the score and to discover the immanent dramaturgies emerging from within this inanimate system.<\/jats:p>","DOI":"10.22501\/rc.3057386","type":"posted-content","created":{"date-parts":[[2024,10,8]],"date-time":"2024-10-08T10:24:39Z","timestamp":1728383079000},"source":"Crossref","is-referenced-by-count":0,"title":["Two Bobs and a Steve"],"prefix":"10.22501","author":[{"family":"Pavlos Kountouriotis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,10,8]],"date-time":"2024-10-08T10:27:01Z","timestamp":1728383221000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3057386\/3057387"}},"issued":{"date-parts":[[2024,10,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3057386","published":{"date-parts":[[2024,10,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2022,4,4]],"date-time":"2022-04-04T12:37:42Z","timestamp":1649075862415},"posted":{"date-parts":[[2018,5,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.462955","type":"posted-content","created":{"date-parts":[[2018,5,17]],"date-time":"2018-05-17T22:25:53Z","timestamp":1526595953000},"source":"Crossref","is-referenced-by-count":0,"title":["Jon Ander Garcia"],"prefix":"10.22501","author":[{"family":"Jon Ander Garc\u00eda Ben\u00edtez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2018,5,17]],"date-time":"2018-05-17T22:25:54Z","timestamp":1526595954000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/462955\/462956"}},"issued":{"date-parts":[[2018,5,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.462955","published":{"date-parts":[[2018,5,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,1,4]],"date-time":"2025-01-04T20:40:08Z","timestamp":1736023208907,"version":"3.32.0"},"posted":{"date-parts":[[2025,1,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The concept of 'crowism' allows to adapt the qualities of the crow and project them onto humanity's relationship. Like having an observation on the relation between a stat and the people culture motivation.\n The feature of the crow, takes no burden of humanity society which mean: does not agree taming, presents an individual self-thought, cannot be restrained by regime and cannot be adapted to the pattern of the Western society.<\/jats:p>","DOI":"10.22501\/rc.2937982","type":"posted-content","created":{"date-parts":[[2025,1,4]],"date-time":"2025-01-04T20:11:21Z","timestamp":1736021481000},"source":"Crossref","is-referenced-by-count":0,"title":["\u2018Crowism\u2019"],"prefix":"10.22501","author":[{"family":"DAPHNA REVES","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,1,4]],"date-time":"2025-01-04T20:11:21Z","timestamp":1736021481000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2937982\/2937983"}},"issued":{"date-parts":[[2025,1,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2937982","published":{"date-parts":[[2025,1,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,31]],"date-time":"2024-12-31T05:12:07Z","timestamp":1735621927603,"version":"3.32.0"},"posted":{"date-parts":[[2024,12,30]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"My doctoral research explored musical interaction with disabled children and their families, focusing on how, when and under what conditions music becomes accessible and meaningful. The serie of pictures provides an insight into how accessibility is co-created by participants, activities, actions, objects and the environment.\n\nThe whole PhD thesis can be accessed here: https:\/\/research.gold.ac.uk\/id\/eprint\/34028\/<\/jats:p>","DOI":"10.22501\/rc.2967329","type":"posted-content","created":{"date-parts":[[2024,12,30]],"date-time":"2024-12-30T11:50:31Z","timestamp":1735559431000},"source":"Crossref","is-referenced-by-count":0,"title":["Hva gj\u00f8r musikk tilgjengelig?"],"prefix":"10.22501","author":[{"family":"Maren Metell","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,30]],"date-time":"2024-12-30T11:50:31Z","timestamp":1735559431000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2967329\/2967330"}},"issued":{"date-parts":[[2024,12,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2967329","published":{"date-parts":[[2024,12,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,11,9]],"date-time":"2024-11-09T05:05:43Z","timestamp":1731128743347,"version":"3.28.0"},"posted":{"date-parts":[[2024,11,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Welcome to \"Studies in Kunstvakidiotie\". Here, you can browse through the photographs, essays, drawings, audio and video clips. \u2018Studies in kunstvakidiotie\u2019 is the doctoral research of Mirjam van Tilburg at Antwerp Research Institute for the Arts (ARIA). This is a study in arts education from within the arts. She tries to shift the dominant image of life-long-learning (LLL) and provide insight into the possibilities that this LLL space also provides to art teachers. By searching in this way, more and more became clear about life-long-learning of art teachers. Therefore, a linear cause-and-effect narrative did not seem to do justice to the subject matter. The term \u2018studies\u2019 in the title is sketchy \u2014 it also involves repetition and seeking connections and, above all, it is a derivative of studio and study. \n\nFive essays form the markers within \u2018Studies in Kunstvakidiotie\u2019. Together, they construct a narrative. The essay \u2018(onder)zoek in kunsteducatie\u2019 describes practices and values that stem from Mirjam van Tilburg\u2019s artistic practice: education. The motivation behind this research is that art teachers find LLL events to be limited. The essay \u2018LLO als commoning practice\u2019 discusses the possibilities of commoning practices. The examples: The New School Collective and studios are outlined herein. The studios are the experiment within this doctoral research. During the winter of 2020-2021, Mirjam van Tilburg worked with ten art teachers. The experiment of this doctoral project coincided with the Covid-19 crisis. Together they occupied artist studios in Tilburg and Rotterdam to de-automate and look at teaching practices. \nThe essays \u2018Blik\u2019 and \u2018Tijd\u2019 therefore propose two topics of conversation within LLL: the \u2018aesthetic glance\u2019 and the temporal experience of \u2018interruption\u2019. These essays question the efficient and productive order prevailing in the work environment and LLL of art teachers. \nThe essay \u2018Herontdekking van Kunstvakidiotie\u2019 is the story of a change in the craft of art teachers in the first Covid-19 crisis year. The term \u2018kunstvakidiotie\u2019 in the title cannot be directly translated into English because it is a compound word and may have specific connotations in the Dutch context. The essay describes how in these studios, art subject teachers had one foothold: artistic fervour.<\/jats:p>","DOI":"10.22501\/rc.1721171","type":"posted-content","created":{"date-parts":[[2024,11,8]],"date-time":"2024-11-08T07:25:07Z","timestamp":1731050707000},"source":"Crossref","is-referenced-by-count":0,"title":["STUDIES IN KUNSTVAKIDIOTIE"],"prefix":"10.22501","author":[{"family":"Mirjam van Tilburg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,8]],"date-time":"2024-11-08T07:25:07Z","timestamp":1731050707000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1721171\/2209794\/380\/90"}},"issued":{"date-parts":[[2024,11,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1721171","published":{"date-parts":[[2024,11,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,1,23]],"date-time":"2025-01-23T05:22:01Z","timestamp":1737609721429,"version":"3.33.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2024,10,30]]},"abstract":"The project \u201cEchoes from the torn down fourth wall\u201d aims to build bridges between contemporary-music-as-an-art-form and community singing within songs from the Danish songbook \u2018H\u00f8jskolesangbogen\u2019. In a hybrid concert format created for the project, within the context of an abstracted approach to intense, improvised concert music, several passages with community singing occur, where the audience sings along in songs they know. The research process has investigated how to create a musical environment that might bridge the different positions (art music and community singing), how the idea of the listener\/spectator can be negotiated within different art domains and how, from a genre perspective, the project can be narrated as a meeting between confirming and destabilising forces. What is being reimagined in the project is not so much the past itself, and not necessarily established narratives about the past, but rather possible current and future narratives of how we may reinterpret songs from the past \u2013 together. What is being revealed is not so much specific perspectives in the past but rather hidden potentials in how a majority cultural assemblage like H\u00f8jskolesangbogen may be renegotiated.\n\nAbstract in Danish:\nProjektet \u201cGenklangen fra den v\u00e6ltede fjerde v\u00e6g\u201d fors\u00f8ger at bygge broer mellem kunstmusikken og f\u00e6llesskabet, her repr\u00e6senteret ved den danske sangbog \u2018H\u00f8jskolesangbogen\u2019. I et hybridt koncertformat, skabt til projektet, hvor en intens, abstraheret tilgang til det musikalske materiale er gennemg\u00e5ende, opst\u00e5r i l\u00f8bet af koncerterne adskillige passager med f\u00e6llessang, hvor publikum synger med p\u00e5 sange de kender. Projektet har blandt andet unders\u00f8gt hvordan vi kunne skabe et musikalske milj\u00f8, der kan bygge bro over de forskellige positioner (kunstmusik og f\u00e6llessang), hvordan ideer om lytterens\/tilskuerens roller kan genforhandles indenfor forskellige kunstdom\u00e6ner, og hvordan projektet fra et genre-teoretisk perspektiv kan opfattes som et m\u00f8de mellem bekr\u00e6ftende og destabiliserende kr\u00e6fter. Det, der bliver gent\u00e6nkt i projektet, er ikke s\u00e5 meget selve fortiden og heller ikke n\u00f8dvendigvis etablerede fort\u00e6llinger om fortiden, men snarere mulige samtidige og fremtidige fort\u00e6llinger om, hvordan vi kan genfortolke sange fra fortiden \u2013 sammen. Og det der opdages, er ikke s\u00e5 meget skjulte perspektiver i fortiden, men derimod skjulte potentialer i, hvordan en majoritetskulturel \u2019assemblage\u2019 som H\u00f8jskolesangbogen kan genforhandles. Samtidig nedbrydes barrierer mellem ud\u00f8vende og lytter, og der etablere nye m\u00e5der at opleve ny musik p\u00e5. Og vi mindes om, at vi aldrig ved, hvordan vores kulturelle fortid bliver fortolket i morgen.<\/jats:p>","DOI":"10.22501\/rmc.3025944","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:42:56Z","timestamp":1737542576000},"source":"Crossref","is-referenced-by-count":0,"title":["Echoes from the torn down fourth wall - Genklangen fra den v\u00e6ltede fjerde v\u00e6g"],"prefix":"10.22501","author":[{"family":"Jacob Anderskov","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:42:57Z","timestamp":1737542577000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3025944\/3025945"}},"issued":{"date-parts":[[2024,10,30]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/rmc.3025944","published":{"date-parts":[[2024,10,30]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:08Z","timestamp":1742358188120,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0072","type":"journal-article","created":{"date-parts":[[2024,11,5]],"date-time":"2024-11-05T15:43:26Z","timestamp":1730821406000},"source":"Crossref","is-referenced-by-count":0,"title":["4 PREGUNTAS: Laura Olalde, \"Creo que no existe investigaci\u00f3n art\u00edstica sin modulaci\u00f3n de materia\""],"prefix":"10.22501","author":[{"given":"Laura","family":"Olalde","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024,11,5]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:40Z","timestamp":1742292220000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/4-preguntas-laura-olalde-creo-que-no-existe-investigacion-artistica-sin-modulacion-de-materia"}},"issued":{"date-parts":[[2024,11,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0072","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024,11,5]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407306,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0062","type":"journal-article","created":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T10:38:33Z","timestamp":1687775913000},"source":"Crossref","is-referenced-by-count":0,"title":["JAR @ 14th SAR conference in Trondheim, Norway"],"prefix":"10.22501","author":[{"name":"Journal for Artistic Research (JAR)","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2023,6,26]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:27Z","timestamp":1742292207000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/jar-14th-sar-conference-trondheim-norway"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0062","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:09Z","timestamp":1742294409695,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0046","type":"journal-article","created":{"date-parts":[[2021,9,28]],"date-time":"2021-09-28T12:46:39Z","timestamp":1632833199000},"source":"Crossref","is-referenced-by-count":0,"title":["Artistic Practice in Telepresence during the COVID-19 Pandemic."],"prefix":"10.22501","author":[{"given":"Chun Wai (Wilson)","family":"Yeung","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Rosina","family":"Yuan","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Wing Ting (Jan)","family":"Sze","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Ye (Sherry)","family":"Liu","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:14Z","timestamp":1742292194000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/artistic-practice-telepresence-during-covid-19-pandemic"}},"issued":{"date-parts":[[2021]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0046","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2021]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:26:23Z","timestamp":1742358383605,"version":"3.40.1"},"posted":{"date-parts":[[2025,3,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T00:00:00Z","timestamp":1742256000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Experimental article for the Performance Philosophy journal Vol. 9 No. 2 (2024): With the Dead: Performance Philosophy, Dying, and Grief.\n\nAbstract:\nThe last years the so-called phenomenon \u201cglacier funerals\u201d has appeared and spread globally with the most famous one happening in Iceland (Ok-glacier) in August 2019, followed by amongst others, funerals in Switzerland (Piezol glacier), Mexico (Ayoloco glacier) the United States (Clark glacier). It is one way to cope with ecological grief, an emotional response to the (future) impact of so-called anthropogenic climate change. The funerals differ in execution, but they remain rituals usually performed for humans and are \u201cprojected\u201d on glacial beings. This works powerfully for creating awareness of glacier loss and climate change as such. The declared deaths of the glaciers are defined as the loss of the status as a glacier by scientists and are measurable. In this article, I am in for a search for a way to emerge rituals with mountains and glaciers as collaborators, based on a rather personal, partly autobiographic, artistic, and poetic approach, which leads to a better understanding of caring for a mountain and a glacier and bridges the gap between abstract measurable knowledge and a public in a way that it makes the impact of anthropogenic climate collapse sensible.<\/jats:p>\n keywords: ecological grief, ecological loss, Climate Change, artistic research, Design research, Embodied knowledge, death culture, Death, mountain, Glacier, glacier funeral, commemorative ritual, future memorial, more-than-human, other than human<\/jats:p>","DOI":"10.22501\/rc.3518879","type":"posted-content","created":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T12:16:34Z","timestamp":1742300194000},"source":"Crossref","is-referenced-by-count":0,"title":["D.E.A.D.line"],"prefix":"10.22501","author":[{"family":"s\u2020\u00ebf\u2206\/\\\/ sch\/\\efer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T12:16:34Z","timestamp":1742300194000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3518879\/3518880"}},"issued":{"date-parts":[[2025,3,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3518879","published":{"date-parts":[[2025,3,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:29Z","timestamp":1742358149800,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0022","type":"journal-article","created":{"date-parts":[[2019,12,20]],"date-time":"2019-12-20T10:42:18Z","timestamp":1576838538000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Corina Caduff and Tan W\u00e4lchli (eds.), \"Artistic Research and Literature\""],"prefix":"10.22501","author":[{"given":"Tobias","family":"Servaas","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,12,19]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:59Z","timestamp":1742292179000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-corina-caduff-and-tan-walchli-eds-artistic-research-and-literature"}},"issued":{"date-parts":[[2019,12,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0022","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,12,19]]}},{"indexed":{"date-parts":[[2024,11,7]],"date-time":"2024-11-07T05:26:30Z","timestamp":1730957190744,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"33","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,11,6]]},"abstract":"Environmental science has shown that the global use of concrete has led to significant challenges today and will seriously trouble future generations. Nevertheless, international building industries advertise concrete as a natural, regional, sustainable, and hence green material. In 2020, global human-made mass exceeded all living biomass, with concrete accounting for nearly half of it, making it a signal of the Capitalocene. A radical transformation of industrial building culture is asked for, otherwise anthropogenic mass will be three times biomass by 2040. The growth of the technosphere is amplifying multiple negative currents in the pluriverse \u2014 air pollution, lithospheric extraction, and hydrosphere depletion \u2014 all with catastrophic effects on biodiversity.\n\nThis exposition displays the steps in and findings of the artistic research project Greenwashed Concrete. Setting out to widen understanding of the multi-layered material concrete, this project applied a methodology of juxtaposing two sculptural practices in order to collaboratively design experimental settings to engage scholars from heterogeneous fields.\n\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n<a class=\"download-accessible\" href=\"download-media?work=3155507&file=3155515\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.1928632","type":"journal-article","created":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T07:56:15Z","timestamp":1730879775000},"source":"Crossref","is-referenced-by-count":0,"title":["Greenwashed Concrete. Artistic Research With, On, and Against Concrete, Concerning Conflicting Concepts of Its Sustainability"],"prefix":"10.22501","author":[{"family":"Christoph Weber","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Nikolaus Eckhard","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T20:26:56Z","timestamp":1730924816000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1928632\/1928627"}},"issued":{"date-parts":[[2024,11,6]]},"references-count":0,"journal-issue":{"issue":"33"},"URL":"https:\/\/doi.org\/10.22501\/jar.1928632","published":{"date-parts":[[2024,11,6]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T14:42:16Z","timestamp":1754145736243,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,17]],"date-time":"2025-07-17T00:00:00Z","timestamp":1752710400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,7,17]]},"abstract":"This study seeks to illuminate a body of forgotten repertoire, documented in the Dutch Republic's courts, theatres, military, amateur circles, and churches. Comprising of a dissertation and two appendices, this study explores how double-reed instruments were used in the Dutch Republic in the years 1677\u20131725, focusing on seven types and sizes of instruments made by Richard Haka (<1646\u20131705). This critical period in double-reed history marks Europe's transition from the direct descendants of Renaissance-type instruments to the French-style instruments of the high Baroque period. The Dutch Republic, being the origin of one quarter of all pre-Classical oboes and the earliest-surviving datable bassoon, was one of the first places to adopt these French instruments outside of France \u2014 though the older forms of double-reed instruments continued to be used throughout the period of study. One could question the need for having so many of these instruments in a region which is largely unexplored in terms of historical performance practice and repertoire. Double-reed players of the Republic served in a variety of capacities and could be found playing several genres of music, but due to the historically-inconsistent use of terminology, determining the exact introduction and extinction of these instruments is nearly impossible; however, by contextualising an array of seemingly-unconnected primary sources and analysing details in the iconography of the period, a more-informed perspective on the matter can be gained.<\/jats:p>\n keywords: 17th century, 18th century, Art of Interpretation, Baroque, Bassoon, Dulcian, Early Music, Historically Informed Performance, Jean-Baptiste Lully, Oboe, Shawm<\/jats:p>","DOI":"10.22501\/koncon.3459686","type":"journal-article","created":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T02:14:54Z","timestamp":1747275294000},"source":"Crossref","is-referenced-by-count":0,"title":["Op de Haubois of Basson meesterlyk spelen: Contextualising The Roles and Repertoire of Double-Reed Instruments in the Republiek der Zeven Verenigde Nederlanden, 1677\u20131725"],"prefix":"10.22501","author":[{"family":"Luis Tasso Athayde Santos","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,7,17]],"date-time":"2025-07-17T10:17:43Z","timestamp":1752747463000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3459686\/3459687"}},"issued":{"date-parts":[[2025,7,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3459686","published":{"date-parts":[[2025,7,17]]}},{"indexed":{"date-parts":[[2025,5,5]],"date-time":"2025-05-05T06:10:06Z","timestamp":1746425406351,"version":"3.40.4"},"posted":{"date-parts":[[2025,5,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,5,5]],"date-time":"2025-05-05T00:00:00Z","timestamp":1746403200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Second Semester Fashion Design KABK 2025<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3486654","type":"posted-content","created":{"date-parts":[[2025,5,5]],"date-time":"2025-05-05T05:29:01Z","timestamp":1746422941000},"source":"Crossref","is-referenced-by-count":0,"title":["Second Semester"],"prefix":"10.22501","author":[{"family":"Le\u00e0 Deppner","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,5,5]],"date-time":"2025-05-05T05:29:01Z","timestamp":1746422941000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3486654\/3486655"}},"issued":{"date-parts":[[2025,5,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3486654","published":{"date-parts":[[2025,5,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,5,31]],"date-time":"2025-05-31T04:08:31Z","timestamp":1748664511185,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T00:00:00Z","timestamp":1748563200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,30]]},"abstract":"Throughout our musical history, many female composers\u2019 figures and legacies have always remained overshadowed in the male-dominated realm of 19th- and 20th-century music. Eugenia S. Osterberger (1852\u20131932) is one of them: a remarkable and overlooked Galician composer who blended Galician and Spanish traditional music with European academic styles. This research aims to shed light on Osterberger's life and work by performing her compositions with my instrument addressing the central question: \u201cHow can I share it engagingly with the audience?\u201d. To carry out this project, the methodology involves a literature review of Eugenia\u2019s context, story, and compositions; archive fieldwork to find the scores; the process of arranging and adapting her music for oboe or English horn; identification of Galician and Spanish folklore footprints and other styles in her pieces; and revision of tools for engaging audience. The culmination of this research will be to have all the essential tools to be able to create a performance that combines narration and music to bring Osterberger's legacy to life, making the audience enjoy and connect with my emotional engagement and with the composer. In addition, it is intended to make a new contribution to the repertoire for oboe and English horn and raise awareness of under-represented voices in music history, which may inspire others to rediscover forgotten composers.<\/jats:p>\n keywords: oboe, woman composer, Galicia, arrangements, traditional music, romanticism, English horn<\/jats:p>","DOI":"10.22501\/koncon.3194534","type":"journal-article","created":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T14:20:55Z","timestamp":1748614855000},"source":"Crossref","is-referenced-by-count":0,"title":["The figure of Eugenia Osterberger, the forgotten Galician romantic composer"],"prefix":"10.22501","author":[{"family":"Mari\u00f1a Palacio Fern\u00e1ndez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T14:20:56Z","timestamp":1748614856000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3194534\/3194535"}},"issued":{"date-parts":[[2025,5,30]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3194534","published":{"date-parts":[[2025,5,30]]}},{"indexed":{"date-parts":[[2025,6,10]],"date-time":"2025-06-10T01:40:08Z","timestamp":1749519608516,"version":"3.41.0"},"posted":{"date-parts":[[2025,6,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,10]],"date-time":"2025-06-10T00:00:00Z","timestamp":1749513600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u25b2 The LGP Apartment as a Performative Box: Eroticism, Ritual, and Desire in Transit explores how a domestic space becomes a stage for embodied performance, blending elements of eroticism, ritualistic acts, and transient desires. This work investigates the intersections between personal and performative identities within the confines of an intimate environment, highlighting the transformative power of space in shaping human experience and creative expression. Oriented to the materialization of creative projects to make them productives.\n\nThis exposition constitutes the first delivery of a broader research-creation process around the LGP method. It proposes a performative, erotic and ritual-based perspective on space, body, and desire. This fixed publication is intended as an archival moment within an ongoing constellation of artistic and psychoanalytic inquiries. Further works will unfold as complementary explorations.\nPublished in parallel on Zenodo with DOI: [10.5281\/zenodo.1562769]\n\n\n\u25b2 El departamento LGP como caja performativa: erotismo, ritual y deseo en tr\u00e1nsito explora c\u00f3mo un espacio dom\u00e9stico se convierte en un escenario para la performance corporal, integrando elementos de erotismo, actos rituales y deseos transitorios. Esta obra investiga las intersecciones entre identidades personales y performativas dentro de un ambiente \u00edntimo, destacando el poder transformador del espacio en la conformaci\u00f3n de la experiencia humana y la expresi\u00f3n creativa. Orientado a la materializaci\u00f3n de proyectos creativos para hacerlos productivos.\n\n\nEsta exposici\u00f3n constituye la primera entrega de un proceso m\u00e1s amplio de investigaci\u00f3n-creaci\u00f3n en torno al m\u00e9todo LGP. Propone una perspectiva performativa, er\u00f3tica y ritual sobre el espacio, el cuerpo y el deseo. Esta publicaci\u00f3n fija funciona como un momento de archivo dentro de una constelaci\u00f3n en expansi\u00f3n de indagaciones art\u00edsticas y psicoanal\u00edticas. Los pr\u00f3ximos trabajos desplegar\u00e1n nuevas exploraciones complementarias.\nPublicado en paralelo en Zenodo con DOI: [10.5281\/zenodo.1562769]<\/jats:p>\n keywords: transition, transitioning, methods, apartment, space, Spaces in between, performance, box, transformation, process<\/jats:p>","DOI":"10.22501\/rc.3747426","type":"posted-content","created":{"date-parts":[[2025,6,10]],"date-time":"2025-06-10T01:07:25Z","timestamp":1749517645000},"source":"Crossref","is-referenced-by-count":0,"title":["\u25b2The LGP Apartment as a Performative Box: Eroticism, Ritual, and Desire in Transit"],"prefix":"10.22501","author":[{"family":"Lorena Croceri","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,6,10]],"date-time":"2025-06-10T01:07:26Z","timestamp":1749517646000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3747426\/3747427"}},"issued":{"date-parts":[[2025,6,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3747426","published":{"date-parts":[[2025,6,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T19:03:48Z","timestamp":1754161428167,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","license":[{"start":{"date-parts":[[2020,5,1]],"date-time":"2020-05-01T00:00:00Z","timestamp":1588291200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,5,1]]},"abstract":"Abstract: The essay begins with a synthetic history of the emergence of radio art in Brazil. We present different ways in which radio art is produced and programmed in Brazil, enumerating the principal stations and artists, starting with the two public cultural stations in which it was first produced: R\u00e1dio Cultura FM (S\u00e3o Paulo) and R\u00e1dio MEC FM (Rio de Janeiro). The text also introduces readers to artists who have created radio art and sound art pieces in and out of the space of airwaves within art galleries and museums or outdoors. Finally, we present the most recent overview of Brazilian radio art using the Internet and all interconnected media.<\/jats:p>\n keywords: radio art; radio art in Brazil; sound art in and off the radio<\/jats:p>","DOI":"10.22501\/jss.863825","type":"journal-article","created":{"date-parts":[[2025,7,28]],"date-time":"2025-07-28T21:13:04Z","timestamp":1753737184000},"source":"Crossref","is-referenced-by-count":0,"title":["Radio Art in Brazil: A Panorama of Artists and Productions"],"prefix":"10.22501","author":[{"family":"Mauro S\u00e1 Rego Costa, Adriana Gomes Ribeiro and Pedro de Alb","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2025,7,28]],"date-time":"2025-07-28T21:13:05Z","timestamp":1753737185000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/863825\/863826"}},"issued":{"date-parts":[[2020,5,1]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/jss.863825","published":{"date-parts":[[2020,5,1]]}},{"indexed":{"date-parts":[[2025,9,16]],"date-time":"2025-09-16T20:47:41Z","timestamp":1758055661896,"version":"3.44.0"},"posted":{"date-parts":[[2025,9,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T00:00:00Z","timestamp":1757894400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Camlot RC for PP<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3085902","type":"posted-content","created":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T08:42:41Z","timestamp":1757925761000},"source":"Crossref","is-referenced-by-count":0,"title":["Camlot RC"],"prefix":"10.22501","author":[{"family":"Julieanna Preston","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T08:42:41Z","timestamp":1757925761000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3085902\/3085903"}},"issued":{"date-parts":[[2025,9,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3085902","published":{"date-parts":[[2025,9,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T10:34:57Z","timestamp":1764758097770,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T00:00:00Z","timestamp":1764720000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2025,12,3]]},"abstract":"The project Mediation as Discipline is an attempt to buildbridges between disciplines and make the experience-based knowledge that the contemporary art field can offer relevant to a broader academic community. At the same time, it is an investigation of needs within the field itself, which should be served by a university that prides itself on having an artistic faculty. This report, carrying the same name as the project, is based on a comprehensive survey among contemporary art mediators conducted in 2024 by the project group, and it examines the foundation for specialised education for mediators of contemporary art in Norway.<\/jats:p>\n keywords: KMD_Art<\/jats:p>","DOI":"10.22501\/kmd-ar.3942538","type":"journal-article","created":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T10:30:53Z","timestamp":1764757853000},"source":"Crossref","is-referenced-by-count":0,"title":["Formidling som fagfelt"],"prefix":"10.22501","author":[{"family":"Anne Szefer Karlsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T10:30:53Z","timestamp":1764757853000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3942538\/3942539"}},"issued":{"date-parts":[[2025,12,3]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.3942538","published":{"date-parts":[[2025,12,3]]}},{"indexed":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T16:06:06Z","timestamp":1765296366227,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T00:00:00Z","timestamp":1765238400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,12,9]]},"abstract":"This exposition proposes revisiting as a method for engaging with long term artistic research. The method was developed while returning to a series of twelve year-long works based on repetition called Animal Years (2002-2014) in the context of the Academy of Finland funded research project How To Do Things With Performance (2016-2020). The same method was further explored as an artistic tool in the project Pondering with Pines (2022-2024). The method could be generalised into revisiting understood as return and repeat, recycle and recombine, reflect and reconsider and adapted to many types of artistic practices.<\/jats:p>\n keywords: revisit, repeat, recreate, reconsider, duration, performance, method<\/jats:p>","DOI":"10.22501\/hub.2797281","type":"journal-article","created":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T15:39:02Z","timestamp":1765294742000},"source":"Crossref","is-referenced-by-count":0,"title":["Duration through Repetition - Revisiting as Method"],"prefix":"10.22501","author":[{"family":"Annette Arlander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T15:39:02Z","timestamp":1765294742000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2797281\/2797282"}},"issued":{"date-parts":[[2025,12,9]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/hub.2797281","published":{"date-parts":[[2025,12,9]]}},{"indexed":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T16:05:33Z","timestamp":1765296333494,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T00:00:00Z","timestamp":1765238400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,12,9]]},"abstract":"This article explores the shifting temporality of John Cage\u2019s 4\u201933\u201d as it propogates through the digital landscape of YouTube. Originally conceived as a timed, almost site-specific performance of shared presence and ambient listening, 4\u201933\u201d can function surprisingly well online in an environment dedicated to speed, repetition, and distraction. Drawing on seven diverse video performances\u2014ranging from the historically grounded to the amateur and experimental\u2014I examine how silence and time are embodied, marked, framed, and performed in online space. These performances inhabit a paradox: they are situated within a system designed to fragment attention, yet they demand stillness and duration. In doing so, they unsettle the assumptions of immediacy that govern digital spectatorship.Rather than treat 4\u201933\u201d as a fixed score, I argue that each video becomes a site of temporal negotiation. The performers use silence as a gestural and visual act, creating tension between embodied time and platform time. They foreground listening not only as acoustic attention but as a durational stance\u2014an insistence on presence within an artwork that privileges absence. The result is a form of quiet resistance to algorithmic rhythm, the embracing of non-playing, a reclaiming of boredom.These online performances suggest that 4\u201933\u201d has not lost its edge. Instead, it has adapted, becoming a mirror for contemporary conditions of time, presence, and attention. Silence here is not absence, but an expanded field\u2014where listening, duration, and performance are reimagined in and against the temporal asynchronicities of the digital.(painting by Morna McGoldrick, 1964)<\/jats:p>\n keywords: silence, embodiment, markers, Silence perception, john cage, time, time based media, duration, YouTube, durational<\/jats:p>","DOI":"10.22501\/hub.3610706","type":"journal-article","created":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T15:39:26Z","timestamp":1765294766000},"source":"Crossref","is-referenced-by-count":0,"title":["Rephrasing Duration: Silence(s) in 4'33\""],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0005-5353-2929","authenticated-orcid":false,"family":"Guy Livingston","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T15:39:27Z","timestamp":1765294767000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3610706\/3610790"}},"issued":{"date-parts":[[2025,12,9]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/hub.3610706","published":{"date-parts":[[2025,12,9]]}},{"indexed":{"date-parts":[[2025,12,16]],"date-time":"2025-12-16T12:49:09Z","timestamp":1765889349134},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,6,26]]},"abstract":"Leo Hosp (Center Research Focus) widens our perspective through her contribution \"I Can See Queerly Now. Queer Perspectives On Project Work\", which is a reflection on queer working practices. Hosp intertwines her own experiences of queerness with insights from collaborative project work within the Action for Sustainable Future (ASF) hub. Hosp\u2019s contribution refrains from defining queer research. Instead, it explores different aspects and approaches to deal with an inherently fluid term to propose a queer project work manifesto. Presented as a momentary insight into Hosp\u2019s research, it is not to be understood as a finalized outcome but an open invitation.<\/jats:p>","DOI":"10.22501\/repos.2481748","type":"journal-article","created":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T09:13:11Z","timestamp":1719393191000},"source":"Crossref","is-referenced-by-count":1,"title":["I Can See Queerly Now. Queer Perspectives On Project Work"],"prefix":"10.22501","author":[{"family":"Leo Hosp","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:58Z","timestamp":1727193898000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2481748\/2481749"}},"issued":{"date-parts":[[2024,6,26]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/repos.2481748","published":{"date-parts":[[2024,6,26]]}},{"indexed":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T11:39:56Z","timestamp":1765539596292,"version":"3.48.0"},"posted":{"date-parts":[[2025,12,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T00:00:00Z","timestamp":1765497600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exhibition is deeply rooted in local history\u2014the artist group explores the story of the white pigment titanium dioxide's industrial origin in Sandbekk, and how this world sensation from 1910 has influenced our world today. Titanium dioxide white pigment is a global color phenomenon. Ilmenite is transported from Titania to its sister company Kronos Titan in Fredrikstad, where it is refined into titanium dioxide. From there, the pigment circulates seemingly invisibly in a global network of systems. It is used in paint, plastics, paper, ink, cosmetics, medicine, sunscreen, and millions of products we use daily. This history is the starting point for the development project TiO2: The Materiality of White. Over the past two years, the artist group has visited Titania's mines and deposits, gathering materials from the local history. Just as geologists examined the areas in Sokndal over 150 years ago in search of valuable minerals, the group has wandered through the landscape, picking stones and collecting sand, clay, and rust-colored earth. These findings have been brought back to the ceramic laboratory at KhiO, where they have been processed through ceramic methods.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4048825","type":"posted-content","created":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T11:35:13Z","timestamp":1765539313000},"source":"Crossref","is-referenced-by-count":0,"title":["Hidden Stone"],"prefix":"10.22501","author":[{"family":"Marte Johnslien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T11:35:13Z","timestamp":1765539313000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4048825\/4048826"}},"issued":{"date-parts":[[2025,12,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4048825","published":{"date-parts":[[2025,12,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T09:40:06Z","timestamp":1752486006876,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0083","type":"journal-article","created":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T09:13:37Z","timestamp":1752484417000},"source":"Crossref","is-referenced-by-count":0,"title":["Saberes vivos en tiempos de motosierra"],"prefix":"10.22501","author":[{"given":"Eduardo","family":"Molinari","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2025]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T09:13:37Z","timestamp":1752484417000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/saberes-vivos-en-tiempos-de-motosierra"}},"issued":{"date-parts":[[2025]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0083","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2025]]}},{"indexed":{"date-parts":[[2025,6,21]],"date-time":"2025-06-21T04:02:28Z","timestamp":1750478548197,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,6,20]],"date-time":"2025-06-20T00:00:00Z","timestamp":1750377600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2025,6,20]]},"abstract":"Denne nettsiden dokumenterer refleksjonsarbeid fra det kunstneriske utviklingsprosjektet Improvisasjon som m\u00f8tepunkt i en intermedial kontekst (INTERIMP) \u2013 et samarbeidsprosjekt mellom Norges musikkh\u00f8gskole (NMH) og Balletth\u00f8gskolen ved Kunsth\u00f8gskolen i Oslo (KHiO), med ekstern finansiering fra det nasjonale Program for kunstnerisk utviklingsarbeid\/Prosjektprogrammet (2012\u20132015).\n\nProsjektdeltakere har v\u00e6rt musikerne Lisa Dillan, Sidsel Endresen (2012\u20132014) og Ivar Grydeland (alle NMH), og danserne Siri J\u00f8ntvedt, Cecilie Lindeman Steen og Ingunn Rimestad (alle KHiO). \n\nForm\u00e5let med prosjektet har v\u00e6rt \u00e5 unders\u00f8ke og \u00f8ke bevisstheten rundt prosesser og problemstillinger som oppst\u00e5r n\u00e5r improviserende dansere og musikere m\u00f8tes p\u00e5 gulvet. \n\nAktiviteten i prosjektet har best\u00e5tt av arbeid p\u00e5 gulvet og arbeid p\u00e5 m\u00f8terommet, og det har v\u00e6rt en gjensidig og kontinuerlig veksling mellom disse fasene. Utpr\u00f8vinger og tester p\u00e5 gulvet har informert diskusjonene p\u00e5 m\u00f8terommet, som igjen har generert nye utpr\u00f8vinger og tester p\u00e5 gulvet.\n<hr><\/hr>\nDokumentasjonen av prosjektet ble opprinnelig gjort p\u00e5 en dedikert nettside. Den er n\u00e5 flyttet til Research Catalogue for \u00e5 bedre sikkerhet og distribusjon.<\/jats:p>\n keywords: dance, multimedial, interimp, lisa dillan, ivar grydeland, siri j\u00f8ntvedt, cecilie lindeman steen, improvisation, interdisciplinarity, contemporary dance, contemporary music, sidsel endresen<\/jats:p>","DOI":"10.22501\/nmh-ar.3657403","type":"journal-article","created":{"date-parts":[[2025,6,20]],"date-time":"2025-06-20T09:08:24Z","timestamp":1750410504000},"source":"Crossref","is-referenced-by-count":0,"title":["Interimp"],"prefix":"10.22501","author":[{"family":"Lisa Dillan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ivar Grydeland","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,6,20]],"date-time":"2025-06-20T09:08:24Z","timestamp":1750410504000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3657403\/3657061"}},"issued":{"date-parts":[[2025,6,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.3657403","published":{"date-parts":[[2025,6,20]]}},{"indexed":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T16:50:26Z","timestamp":1773939026999,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T00:00:00Z","timestamp":1773878400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2026,3,19]]},"abstract":"The Annotated Garden & Compost weave creative non-fiction and digital dramaturgy to meditate on garden pedagogies and ecological precarity, technological acceleration, and the entanglement of environmental and machinic systems.The Annotated Garden gathers site-rooted stories from a small urban allotment in Rotterdam, a plot threatened by encroaching property development and the climate crisis. Activated through QR codes and narrated by AI-generated avatars modelled on the author\u2019s likeness, its annotations move between the garden and its cottage. Encounters with birds, plants, soil, and seasonal changes form narrative knots that ask how a modest plot might hold lessons far exceeding its borders.Compost operates as the project\u2019s conceptual understory, an active method that churns through the work\u2019s processes and theoretical underpinnings. As a body of writing, it mirrors its title and remains deliberately in process and open-ended.Together, these strands propose an attention ecology rather than an attention economy, attuned to interdependency, decay, renewal, and stewardship across so-called natural and digital worlds.Note: The Annotated Garden is published as part of VIS #15, and the accompanying Compost is self-published.<\/jats:p>\n keywords: AI, ecological grief, digital art, garden, annotations, digital narratives, non-human, compost, more-than-human, fragile ecologies, avatars, entanglements, precarity, AI generated images, AI generated voices, human in the loop<\/jats:p>","DOI":"10.22501\/vis.3513353","type":"journal-article","created":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T15:31:49Z","timestamp":1773934309000},"source":"Crossref","is-referenced-by-count":0,"title":["The Annotated Garden &amp; Compost"],"prefix":"10.22501","author":[{"family":"D. Ren\u00e9e Turner","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T15:31:49Z","timestamp":1773934309000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3513353\/3513354"}},"issued":{"date-parts":[[2026,3,19]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/vis.3513353","published":{"date-parts":[[2026,3,19]]}},{"indexed":{"date-parts":[[2026,1,16]],"date-time":"2026-01-16T10:48:15Z","timestamp":1768560495507,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,15]],"date-time":"2026-01-15T00:00:00Z","timestamp":1768435200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Abstract This study investigates the role of music and sound in shaping a sense of identity among second-generation immigrants in Finland, with a particular focus on Finnish Kosovar experiences. As Finland moves from a historically homogeneous society toward a more multicultural landscape, understanding how musical engagement influences identity formation becomes increasingly significant. Through autoethnographic reflection and artistic practice, this research explores how listening, performing, and creating music mediate the negotiation of cultural heritage, integration, and hybrid identities among individuals navigating multiple cultural worlds.Central to this exploration is the master concert Safe Ocean, which serves as both a personal and academic articulation of the study\u2019s core themes. The concert integrates multilingual expression, traditional Albanian and Turkish musical materials, and hybrid compositional methods that also incorporate Nordic musical elements such as modal melodies, open-voiced harmonies, and timbral aesthetics characteristic of the region\u2019s contemporary folk and art music practices. By combining solo, small-group, and full-ensemble arrangements, the project presents both intimate and collective expressions, engaging instruments and musical influences from Kosovar Albanian, Turkish, Nordic, and Middle Eastern traditions.Through the interweaving of autoethnographic insight, artistic creation, and scholarly inquiry, this study demonstrates how music evokes memory, supports emotional processing, and supports dialogue between multiple cultural worlds. Findings indicate that engagement with sound and musical practice contributes not only to personal identity formation but also to the creation of social belonging and spaces for intercultural dialogue. This research contributes to broader discussions on music, diaspora, and identity, offering insight into how artistic practices can mediate complex cultural experiences and support the integration of second-generation immigrants within multicultural societies.<\/jats:p>\n keywords: belonging, identity, multiculturalism, integration, immigration, second-generation immigrants, Finnish society, music-making, sound, Kosova, Multiculturalism, Cross-cultural music, third space<\/jats:p>","DOI":"10.22501\/rc.4080732","type":"posted-content","created":{"date-parts":[[2026,1,15]],"date-time":"2026-01-15T17:47:49Z","timestamp":1768499269000},"source":"Crossref","is-referenced-by-count":0,"title":["Safe Ocean: Artistic and Autoethnographic Explorations of Music and Sound as Vessels for Finnish Kosovar Second-Generation Identity"],"prefix":"10.22501","author":[{"family":"Merve Abdurrahmani","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,15]],"date-time":"2026-01-15T17:47:49Z","timestamp":1768499269000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4080732\/4080733"}},"issued":{"date-parts":[[2026,1,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4080732","published":{"date-parts":[[2026,1,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T07:13:36Z","timestamp":1772262816681,"version":"3.50.1"},"posted":{"date-parts":[[2026,2,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T00:00:00Z","timestamp":1772236800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"ASSET ARREST is a research project and podcast series that infiltrates and disseminates the exclusive spaces of financialized housing. ASSET ARREST seeks to expose the spatial politics of urban real estate as shaped by speculative investment, gentrification, and the increasing abstraction of housing from use-value to asset-value. In each episode of the podcast, Laura invites a guest to view a property with her, with them both posing as potential buyers. The project functions both as an investigative tool and as a mode of counter-publicity, deploying strategies that \"make public\" what is structurally hidden. Central to this practice is the production of alternative representations of these sites\u2014images rendered not through the idealized CGI marketing tropes that dominate real estate promotion, but through unscripted conversation and embodied performance.In posing as a prospective buyer, I enact a form of role-play that becomes both method and critique. This performative access enables a rupture in the polished fa\u00e7ade of luxury developments, allowing for the insertion of critical discourse into spaces otherwise closed to scrutiny. ASSET ARREST mobilizes a feminist methodology\u2014one that resists objectivity, embraces relationality, and insists on the political significance of lived experience. The project is understood as an act of spatial disobedience: reclaiming the tools of surveillance, storytelling, and spectacle not to reproduce power, but to subvert and redistribute it.<\/jats:p>\n keywords: art, artwork, performance, podcast, urban space, regeneration, creative city, spatial politics, housing, real estate, site-specific, intervention<\/jats:p>","DOI":"10.22501\/rc.4217173","type":"posted-content","created":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T04:27:07Z","timestamp":1772252827000},"source":"Crossref","is-referenced-by-count":0,"title":["ASSET ARREST"],"prefix":"10.22501","author":[{"family":"Laura Yuile","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T04:27:07Z","timestamp":1772252827000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4217173\/4217174"}},"issued":{"date-parts":[[2026,2,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4217173","published":{"date-parts":[[2026,2,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:40:43Z","timestamp":1759938043111,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Collected Works as Cognitive Trace\n\nBy Dorian Vale\n\nIn Collected Works as Cognitive Trace, Dorian Vale reframes the act of collecting not as possession, but as psychological imprint. Drawing from the principles of Post-Interpretive Criticism, this essay explores how personal archives\u2014particularly collections of art, objects, and texts\u2014can reveal unconscious maps of memory, loss, longing, and identity.\n\n \n\nVale argues that every collected item leaves a residue of the self: a cognitive scar, a symbolic placeholder, or a momentary alignment between inner and outer worlds. These collections become autobiographies of the unspoken\u2014not narratives, but traces. What we keep is not always what we value most, but what we could not leave behind.\n\n \n\nThis piece expands the Post-Interpretive lexicon by introducing the concept of cognitive residue and emotional indexing, urging readers to view their shelves and storage boxes not as aesthetic decisions, but as quiet cartographies of becoming.\n\n \n\n \n\nVale, Dorian. Collected Works as Cognitive Trace. Museum of One, 2025. DOI: 10.5281\/zenodo.17070885\n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)\n\nDorian Vale, Post-Interpretive Criticism, art collecting, cognitive trace, personal archives, art as memory, symbolic possession, collection psychology, memory and art, autobiographical collecting, object curation, emotional indexing, art and identity, private archives, post-interpretive lexicon, collecting as residue, slow criticism, aesthetic psychology, witnessing through objects, non-interpretive art theory<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Presence, Art as Truth, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Interpretive Restraint, Witness over interpretation, Radical art restraint, Quiet philosophy of art, https:\/\/orcid.org\/0009-0004-7737-5094, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, Freud, Isabella Stewart Gardner, Gertrude Stein, Charles Saatchi, Peggy Guggenheim<\/jats:p>","DOI":"10.22501\/rc.3921649","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:10:11Z","timestamp":1759936211000},"source":"Crossref","is-referenced-by-count":0,"title":["Collected Works as Cognitive Trace"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:10:11Z","timestamp":1759936211000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921649\/3921648"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921649","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T21:07:02Z","timestamp":1776805622024,"version":"3.51.2"},"posted":{"date-parts":[[2026,4,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T00:00:00Z","timestamp":1776729600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A Philosophical Departure from Post-CriticismBy Dorian Vale\u2014 A Treatise in the Post-Interpretive MovementA Philosophical Departure from Post-Criticism is a pivotal treatise that distinguishes Dorian Vale\u2019s Post-Interpretive Criticism (PIC) from the broader and more diffuse field of Post-Criticism. Where Post-Criticism often aims to relax or abandon evaluative frameworks, Vale\u2019s work insists on restraint, reverence, and ethical responsibility in the act of reading art. This departure is not merely stylistic\u2014it is ontological. Post-Criticism, as commonly practiced, often flattens interpretation into ambivalence, collapsing the critic\u2019s task into a commentary of gestures. By contrast, Post-Interpretive Criticism is a call to presence over analysis, silence over spectacle, and custodianship over commentary. In this treatise, Vale dissects the shortcomings of Post-Criticism\u2014its lack of moral proximity, its addiction to cleverness, its occasional nihilism\u2014and presents Post-Interpretive Criticism as a re-sacralization of the critic\u2019s role. It is a return to witnessing as method, anchored not in detachment, but in moral and metaphysical alignment with the unspeakable truths embedded in art. This work is a formal clarification of genre boundaries, philosophical ethics, and aesthetic posture. It enshrines Post-Interpretive Criticism as a new discipline, separate from\u2014and more rigorous than\u2014the interpretive loosening that preceded it. Vale, Dorian. A Philosophical Departure from Post-Criticism. Museum of One, 2025. DOI: 10.5281\/zenodo.17057756 Dorian Vale, Post-Interpretive Criticism, Post-Criticism, philosophy of art, ethics of criticism, witness-based aesthetics, moral proximity, silent criticism, aesthetic restraint, art theory treatise, post-structural criticism, new art movements, metaphysical aesthetics, art and presence, slow criticism, reverent art writing, non-performative critique, theory of witnessing, art and ontology, contemporary aesthetic movements, departure from postmodernism This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Art as Ontology, Custodianship of Art, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, https:\/\/www.museumofone.art\/, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Canon of Witnesses, The Custodian\u2019s Oath, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4375521","type":"posted-content","created":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T20:27:40Z","timestamp":1776803260000},"source":"Crossref","is-referenced-by-count":0,"title":["A Philosophical Departure from Post-Criticism [1 - 2026-04-21 22:26]"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T20:27:40Z","timestamp":1776803260000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4375521\/4375520"}},"issued":{"date-parts":[[2026,4,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4375521","published":{"date-parts":[[2026,4,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T14:13:28Z","timestamp":1777990408669,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2026,5,5]]},"abstract":"This paper examines how soundwalking, field recording, and participant narratives supported knowledge-making during the Covid-19 pandemic in practice. It draws on a multi-method process developed through the Sounding Covid-19 Repository (two years of pandemic soundscape compositions) and the follow-on Covid-19 Sound Stories project, based on recorded reflections and interviews. Using reflexive thematic analysis alongside researcher introspection, the paper traces how sonic practice moves from first-person reflection to shared, communicable insights, invoking transcendental idealism heuristically to describe how inner experience and external conditions become comparable through recording and re-listening. It identifies perceptual, temporal, and interpretive forms of knowledge generated in crisis.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.4301658","type":"journal-article","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:27:27Z","timestamp":1777987647000},"source":"Crossref","is-referenced-by-count":0,"title":["From Soundwalks to Shared Stories: Auto-Hermeneutic Practices and Knowledge-Making During the Covid-19 Pandemic"],"prefix":"10.22501","author":[{"family":"Georgios Varoutsos","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:27:28Z","timestamp":1777987648000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4301658\/4301659"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jss.4301658","published":{"date-parts":[[2026,5,5]]}},{"indexed":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T15:03:22Z","timestamp":1779807802456,"version":"3.53.1"},"posted":{"date-parts":[[2025,6,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,22]],"date-time":"2025-06-22T00:00:00Z","timestamp":1750550400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Media scores\u2014expansion of musical notation that incorporate other modalities, particularly enabling interactive and generative elements\u2014have reshaped the relationships between composer, score, and performer. This essay examines nine distinct attributes of the media score that differentiate it from traditional notation. Through historical and contemporary examples, the discussion highlights how these attributes manifest in various artistic practices. Additionally, the author's own compositions are cited, with particular focus on Mutability, a large-scale collaborative project that highlights many of the elements discussed in the paper.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3298908","type":"posted-content","created":{"date-parts":[[2025,6,22]],"date-time":"2025-06-22T05:44:36Z","timestamp":1750571076000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond Paper: Attributes of the Media Score"],"prefix":"10.22501","author":[{"family":"Yannis Kyriakides","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:23:15Z","timestamp":1779805395000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3298908\/3298909"}},"issued":{"date-parts":[[2025,6,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3298908","published":{"date-parts":[[2025,6,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,16]],"date-time":"2026-05-16T10:13:36Z","timestamp":1778926416827,"version":"3.51.4"},"posted":{"date-parts":[[2026,5,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,16]],"date-time":"2026-05-16T00:00:00Z","timestamp":1778889600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Ampolla del Tempo \u2014 Siracusa vista da un viandanteThe Ampulla of Time \u2014 Syracuse Seen by a WandererThe ampulla is an organ that encloses the city \u2014 a chest of poems, an hourglass that solidifies time and delivers it to the future. It does not preserve objects, but fossilized perceptions: smells, fragments, noises, residues, salts, rusts, gestures. It is life itself, seen through the eyes of a wanderer, compressed into a single breath.<\/jats:p>\n keywords: art, artwork, Recearch conversations, Contemporary art<\/jats:p>","DOI":"10.22501\/rc.4401761","type":"posted-content","created":{"date-parts":[[2026,5,16]],"date-time":"2026-05-16T09:53:36Z","timestamp":1778925216000},"source":"Crossref","is-referenced-by-count":0,"title":["Ampolla del Tempo"],"prefix":"10.22501","author":[{"family":"Giusirames","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,16]],"date-time":"2026-05-16T09:53:36Z","timestamp":1778925216000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4401761\/4401760"}},"issued":{"date-parts":[[2026,5,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4401761","published":{"date-parts":[[2026,5,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:23Z","timestamp":1727238623173},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nThe first and second waves of the pandemic saw visceral instances of death and desperation. Moreover, the violent ripples of the same were felt throughout the nation from its urban metropolitan areas with stable healthcare to rural villages where these systems did not even exist.<\/jats:p>","DOI":"10.22501\/rc.1287243","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T11:53:31Z","timestamp":1622634811000},"source":"Crossref","is-referenced-by-count":0,"title":["Death and Desperation"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:34Z","timestamp":1727192794000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1287243\/1287244"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1287243","published":{"date-parts":[[2021,6,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:36Z","timestamp":1727238636460},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,6,14]]},"abstract":"Observing dress practices as a field of research is a recent phenomena in exponential growth in which the voice of the designer is often left aside. Aware of this gap, this study dives into the experience of dressing and wearing in search for understanding the ways in which the body materiality is involved in the designer\u2019s creative processes. It explores this inquiry through two path-dependent projects investigated as case studies, namely Dress(v.) and Wear\\Wear. The projects make use of auto-ethnographic notations about my personal routine of dressing and wearing to inform the creation of flat patterns for clothes via creative pattern cutting method. Adopting of practice-led research stream via a phenomenological approach to data, the interpretation leads to a further understanding on how the designer\u2019s subjective body is manifest in the design processes and outcomes. The work contributes to the design community by presenting ways in which research methods can inspire design methods, investigated from a practitioner viewpoint. It concludes with suggestions for future collaborations between academic research and design practice in the context of fashion design.\n\nNote to the reader: This exposition is a reworked version of the paper \"The Body within the Clothes: A case study on clothing design practice from a practitioner viewpoint\" presented at the Art of Research 2017 Conference\".<\/jats:p>","DOI":"10.22501\/ruu.410902","type":"journal-article","created":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T09:48:43Z","timestamp":1560505723000},"source":"Crossref","is-referenced-by-count":0,"title":["The body within the clothes"],"prefix":"10.22501","author":[{"family":"Julia Valle-Noronha","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:45Z","timestamp":1727193705000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/410902\/410903"}},"issued":{"date-parts":[[2019,6,14]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/ruu.410902","published":{"date-parts":[[2019,6,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:40Z","timestamp":1727238640176},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,10,13]]},"abstract":"The purpose of this research is to define methods of applying extra-musical and data-based systems in multimedia music works. The first part of the paper concentrates on the outline of the motivation and reasoning for using extra-musical systems from a composer's or sound artist's perspective and gives a historical precedent context. Parallels are drawn together with contemporary art and art critique examples. The second part of the research outlines the possible modes of the data-based systems application by analysing multiple multimedia works by composers or sound artists written in the last two decades including a piece by the author of the paper. The types of multimedia and its connection to sound are discussed, the conceptual deconstruction and its semiotic implications of the data used are analysed. The given conceptual and semantic context is applied for analysing the musical parameters and data's usage in sound control. Each of the pieces discussed outlines a particular mode of the conceptuality towards the extra-musical system usage and functions as a primal device for further conclusions drawn. The final part of the research consists of the general overview of the conclusions drawn and attempts to establish a general outline of the motivation and the resulting outcome behind the usage of the extra-musical systems in multimedia works.<\/jats:p>","DOI":"10.22501\/koncon.279312","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:47:19Z","timestamp":1725922039000},"source":"Crossref","is-referenced-by-count":0,"title":["Extra-musical Systems in Music: their implementation in contemporary music in the context of multimedia"],"prefix":"10.22501","author":[{"family":"Andrius Arutiunian","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:10Z","timestamp":1727193490000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/279312\/279313"}},"issued":{"date-parts":[[2016,10,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.279312","published":{"date-parts":[[2016,10,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:41Z","timestamp":1727238641590},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,3,8]]},"abstract":"This exposition is an investigation into software tranquillity through sound. One second of activity on a laptop was recorded by tracing the function calls within the Linux kernel. Can software be wild or calm? If so, what would calm software be like? Imagining that the software could experience its own existence, is the nature of its tranquillity or activity apparent to it? Can we as humans experience the tranquillity of software, if it indeed exists, and can we experience it as tranquil? Listen to fragments of one second worth of real software (in)activity while we present and reflect on the outcomes of this investigation.<\/jats:p>","DOI":"10.22501\/ruu.904300","type":"journal-article","created":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T13:56:08Z","timestamp":1615211768000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sound of Software Tranquillity"],"prefix":"10.22501","author":[{"family":"Erik Natanael Gustafsson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Baudry Benoit","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:56Z","timestamp":1727193596000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/904300\/904301"}},"issued":{"date-parts":[[2021,3,8]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/ruu.904300","published":{"date-parts":[[2021,3,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:41Z","timestamp":1727238641958},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2015,3,29]]},"abstract":"Sure a photograph can be divided in its mental image and its image-object. These kind of duals follow our tradition, our metaphysics.\n\nWhen we rather think our corporeality as becoming to or becoming of the corpus instead of the separation of the mind and the body, we can or we even have to think the same way with photography, which traditionally has been located in-between of the nature and the culture.\n\nThis essay aims at figuring out the question of the materiality of a photograph when we have to think otherwise than with the difference between mind and body, inside and outside etc. The text argues that the \u201dmaterial core\u201d is not the origin of the materiality of the photograph, but that the essential center appears only as a trace. Instead of referring to a distant object or a distant instant the trace is the distance itself, its differing and deferring.\n\nThe materiality of the photograph consists of its materialities. In a way it is like our bodies are \u2013 actual and real, partly serving us, yet also mute and unresponsive, giving the possibility of being. Being itself, becoming.<\/jats:p>","DOI":"10.22501\/ruu.62963","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:36Z","timestamp":1503649476000},"source":"Crossref","is-referenced-by-count":0,"title":["Co-relation that is not \u2013 photography and coming into the materiality"],"prefix":"10.22501","author":[{"family":"Ari Kakkinen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:35Z","timestamp":1727193875000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/62963\/62964"}},"issued":{"date-parts":[[2015,3,29]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/ruu.62963","published":{"date-parts":[[2015,3,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:04Z","timestamp":1727238664946},"posted":{"date-parts":[[2023,6,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A few months ago, I suddenly understood that my craft was a votive practice: a wishfull practice for a world without technology.\nAn ex-voto is an object that we offer to the divinity to thank the god for a gift or to prevent something from happening in the future. \nIn a way, my entire ceramic work is an ex-voto that carry the wish of a world with much less technology. \nBy defining it as an ex-voto I am questioning my practice: to make a wish does not mean that it will happen, neither that it has any impact on the reality. Is that not when the situation is desperate that we refer to a divinity? Is making ceramics a desperate whisper to protect an idealized nature? What is the meaning today to idealize nature while we destroy it by our way of life?\nThis reflects on my own practice of craft regarding to the destruction of nature by technology. The ceramic objects are the votive object, the wish carried by the craft. The picture represents the nature as it is (cf. Trolh\u00e4ttan project) or as we desire it to be (cf. Fragonard project). The project as a whole question the idealization of nature, the idealization of craft and his meaning today in a context of global warming.<\/jats:p>","DOI":"10.22501\/rc.2007791","type":"posted-content","created":{"date-parts":[[2023,6,8]],"date-time":"2023-06-08T13:59:33Z","timestamp":1686232773000},"source":"Crossref","is-referenced-by-count":0,"title":["Ex-voto"],"prefix":"10.22501","author":[{"family":"Anne-Marie Dehon","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:56Z","timestamp":1727192576000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2007791\/2007792"}},"issued":{"date-parts":[[2023,6,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2007791","published":{"date-parts":[[2023,6,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:05Z","timestamp":1727238665338},"posted":{"date-parts":[[2023,1,7]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u039a\u03b1\u03c4\u03ac \u03c4\u03b7\u03bd \u03b4\u03b9\u03ac\u03c1\u03ba\u03b5\u03b9\u03b1 \u03c4\u03b7\u03c2 \u03b5\u03ba\u03c0\u03cc\u03bd\u03b7\u03c3\u03b7\u03c2 \u03c4\u03b7\u03c2 \u03b4\u03b9\u03b4\u03b1\u03ba\u03c4\u03bf\u03c1\u03b9\u03ba\u03ae\u03c2 \u03b4\u03b9\u03b1\u03c4\u03c1\u03b9\u03b2\u03ae\u03c2 \u03c3\u03c4\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u039c\u03b1\u03ba\u03b5\u03b4\u03bf\u03bd\u03af\u03b1\u03c2 (\u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7), \u03c3\u03b5 \u03c3\u03c5\u03bd\u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1 \u03bc\u03b5 \u03c4\u03bf \u0399\u03cc\u03bd\u03b9\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf (\u039a\u03ad\u03c1\u03ba\u03c5\u03c1\u03b1), \u03bc\u03b5 \u03c4\u03af\u03c4\u03bb\u03bf \u201c\u0388\u03c1\u03b3\u03b1 \u0395\u03bb\u03bb\u03ae\u03bd\u03c9\u03bd \u03c3\u03c5\u03bd\u03b8\u03b5\u03c4\u03ce\u03bd \u03b3\u03b9\u03b1 \u03cc\u03bc\u03c0\u03bf\u03b5: \u03b4\u03b7\u03bc\u03cc\u03c3\u03b9\u03b1 \u03b5\u03ba\u03c4\u03ad\u03bb\u03b5\u03c3\u03b7 \u03ba\u03b1\u03b9 \u03b7\u03c7\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7, \u03ba\u03b1\u03c4\u03b1\u03b3\u03c1\u03b1\u03c6\u03ae, \u03b5\u03c5\u03c1\u03b5\u03c4\u03b7\u03c1\u03af\u03b1\u03c3\u03b7\u201d. \u0388\u03c7\u03bf\u03c5\u03bd \u03c3\u03c5\u03bc\u03c0\u03b5\u03c1\u03b9\u03bb\u03b7\u03c6\u03b8\u03b5\u03af \u03c3\u03c4\u03bf\u03bd \u03ba\u03b1\u03c4\u03ac\u03bb\u03bf\u03b3\u03bf \u03ad\u03c1\u03b3\u03c9\u03bd \u03c4\u03b7\u03c2 \u03bf\u03b9\u03ba\u03bf\u03b3\u03ad\u03bd\u03b5\u03b9\u03b1\u03c2 \u03bf\u03c1\u03b3\u03ac\u03bd\u03c9\u03bd \u03c4\u03bf\u03c5 \u03cc\u03bc\u03c0\u03bf\u03b5 (\u03ba\u03b1\u03c4\u03ac \u03c4\u03b7\u03bd \u03b4\u03b9\u03ac\u03c1\u03ba\u03b5\u03b9\u03b1 \u03c4\u03bf\u03c5 \u03c4\u03c1\u03af\u03c4\u03bf\u03c5 \u03b1\u03ba\u03b1\u03b4\u03b7\u03bc\u03b1\u03ca\u03ba\u03bf\u03cd \u03ad\u03c4\u03bf\u03c5\u03c2 - \u0399\u03b1\u03bd\u03bf\u03c5\u03ac\u03c1\u03b9\u03bf\u03c2 2023), \u03c3\u03c5\u03bd\u03bf\u03bb\u03b9\u03ba\u03ac \u03c4\u03b5\u03c4\u03c1\u03b1\u03ba\u03cc\u03c3\u03b9\u03b1 \u03b5\u03af\u03ba\u03bf\u03c3\u03b9-\u03bf\u03ba\u03c4\u03ce \u03ad\u03c1\u03b3\u03b1 (428). \u03a3\u03c4\u03b7\u03bd \u03b1\u03ba\u03cc\u03bb\u03bf\u03c5\u03b8\u03b7 \u03b1\u03c1\u03c7\u03b9\u03ba\u03ae \u03bb\u03af\u03c3\u03c4\u03b1, \u03c3\u03b7\u03bc\u03b5\u03b9\u03ce\u03bd\u03bf\u03bd\u03c4\u03b1\u03b9 \u03c4\u03b1 \u03bf\u03bd\u03bf\u03bc\u03b1\u03c4\u03b5\u03c0\u03ce\u03bd\u03c5\u03bc\u03b1 \u03c4\u03c9\u03bd \u0395\u03bb\u03bb\u03ae\u03bd\u03c9\u03bd \u03c3\u03c5\u03bd\u03b8\u03b5\u03c4\u03ce\u03bd \u03c3\u03b5 \u03b1\u03bb\u03c6\u03b1\u03b2\u03b7\u03c4\u03b9\u03ba\u03ae \u03c3\u03b5\u03b9\u03c1\u03ac, \u03c0\u03bf\u03c5 \u03c3\u03c5\u03bd\u03ad\u03b8\u03b5\u03c3\u03b1\u03bd \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ac \u03ad\u03c1\u03b3\u03b1 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03bf\u03b9\u03ba\u03bf\u03b3\u03ad\u03bd\u03b5\u03b9\u03b1 \u03bf\u03c1\u03b3\u03ac\u03bd\u03c9\u03bd \u03c4\u03bf\u03c5 \u03cc\u03bc\u03c0\u03bf\u03b5.<\/jats:p>","DOI":"10.22501\/rc.1892814","type":"posted-content","created":{"date-parts":[[2023,1,7]],"date-time":"2023-01-07T21:33:17Z","timestamp":1673127197000},"source":"Crossref","is-referenced-by-count":0,"title":["\u039f\u039d\u039f\u039c\u0391\u03a4\u0395\u03a0\u03a9\u039d\u03a5\u039c\u0391 \u0395\u039b\u039b\u0397\u039d\u03a9\u039d \u03a3\u03a5\u039d\u0398\u0395\u03a4\u03a9\u039d \u039c\u0395 \u0388\u03a1\u0393\u0391 \u0393\u0399\u0391 \u038c\u039c\u03a0\u039f\u0395 \u0389 \u03a4\u0397\u03a3 \u039f\u0399\u039a\u039f\u0393\u0395\u039d\u0395\u0399\u0391\u03a3 \u039f\u03a1\u0393\u0391\u039d\u03a9\u039d (\u0391\u03a1\u03a7\u0399\u039a\u0397 \u039b\u0399\u03a3\u03a4\u0391 \u03a5\u03a0\u038c \u0391\u039d\u0391\u039d\u0395\u03a9\u03a3\u0397)"],"prefix":"10.22501","author":[{"family":"Christos Tsogias-Razakov - \u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c2 \u03a4\u03c3\u03cc\u03b3\u03b9\u03b1\u03c2-\u03a1\u03b1\u03b6\u03ac\u03ba\u03bf\u03b2","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:43:46Z","timestamp":1727192626000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1892814\/1892813"}},"issued":{"date-parts":[[2023,1,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1892814","published":{"date-parts":[[2023,1,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667346},"posted":{"date-parts":[[2022,2,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Within this self-study, I aim to create an effective warmup that prepares me mentally for performance situations, and which can reduce my level of stress in such scenarios. As a dancer who often suffers from stage fright, finding a solution is a challenging, yet an important step to take.<\/jats:p>","DOI":"10.22501\/rc.1490774","type":"posted-content","created":{"date-parts":[[2022,2,4]],"date-time":"2022-02-04T03:44:09Z","timestamp":1643946249000},"source":"Crossref","is-referenced-by-count":0,"title":["Performance Anxiety - Creating a Warmup Using Mindfulness Techniques"],"prefix":"10.22501","author":[{"family":"Enik\u0151 Szili","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:49Z","timestamp":1727192689000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1490774\/1490775"}},"issued":{"date-parts":[[2022,2,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1490774","published":{"date-parts":[[2022,2,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:06Z","timestamp":1727238666912},"posted":{"date-parts":[[2022,2,24]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Playing in the Manner of Ricardo Vi\u00f1es is an artistic research project undertaken at the Norwegian University of Science and Technology (NTNU) for the degree of Philosophiae Doctor (PhD) in Artistic Research. The project\u2019s reflection work takes the form of an exposition, which includes texts, videos, annotated scores and the artistic results. \n\nIn this artistic research project, H\u00e5kon Magnar Skogstad uses an extreme form of imitation to embody and recreate the historical recordings of Catalan-Spanish pianist Ricardo Vi\u00f1es (1875-1943) with the aim of evoking a romantic performance tradition in classical music. Ricardo Vi\u00f1es was one of the leading pianists in Paris around 1900 and premiered several compositions, including a substantial part of the piano works of Claude Debussy and Maurice Ravel. In his recordings, we hear a tradition of romantic performance practice, which Skogstad claims is not heard in modern-day performances. Furthermore, Ricardo Vi\u00f1es\u2019s close relationship to the works of Debussy and his recorded performances have the potential to challenge performance practice norms in impressionistic music. \n\nBy analyzing, studying and recreating the historical recordings of Ricardo Vi\u00f1es, Skogstad sets out to research, experience and through this to gain an understanding of of Vi\u00f1es's playing style on a fundamental level as a performing artist. The method of recreating recordings is carried out by imitating and playing alongside the originals to the point where the recreated performances can be superimposed onto the original historical recordings \u2013 achieving a sort of artistic \u201csynchronization\u201d. Skogstad believes that by committing to such extreme imitation, it is possible to extract unique artistic knowledge from these old recordings. In order to examine the performance practice in context, the playing style of Ricardo Vi\u00f1es is compared to selected and equally thoroughly recreated recordings by contemporaneous pianists Sergei Rachmaninov, Ignacy Friedman and Jes\u00fas Mar\u00eda Sanrom\u00e1. Finally, four recordings of pieces by Claude Debussy played by Ricardo Vi\u00f1es are recreated with the purpose of examining the influence of Vi\u00f1es\u2019s playing style in the music of Debussy.\n\nIn the film Playing in the Manner of Ricardo Vi\u00f1es, which is one of the artistic results of the research, Skogstad records five of Ricardo Vi\u00f1es\u2019s original recordings in a \u201chistorical recording environment\u201d, approaching that which Vi\u00f1es encountered in 1930. The aim of this is for Skogstad to expose himself to a similar recording environment to what Vi\u00f1es experienced \u2013 including recording one-off takes without any possibility of editing. The performances are rough, imperfect and on-the-fly - played in a \u201chigh-risk\u201d manner just like Vi\u00f1es's \u2013 in contrast to the perfectionism of music production standards today.\n\n\nH\u00e5kon Magnar Skogstad (b.1989) is a prize-awarded diverse pianist and composer holding degrees in classical performance from Trondheim (NTNU, Department of Music), Oslo (Norwegian Academy of Music) and New York (Manhattan School of Music). He has performed in ensembles and as a soloist throughout Norway and played concerts in the U.S., Argentina, Germany, Austria and Sweden. Skogstad released three recordings with critically acclaimed ensembles in Norway, as well as his debut solo album Two Hands to Tango and Visions of Tango, featuring his original Concerto for Piano and String Orchestra with Atle Sponberg and the Trondheim Soloists. Both albums have received numerous outstanding reviews and the latter was nominated in the Norwegian Grammy Awards for best classical album.<\/jats:p>","DOI":"10.22501\/rc.1399142","type":"posted-content","created":{"date-parts":[[2022,2,24]],"date-time":"2022-02-24T10:25:53Z","timestamp":1645698353000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing in the Manner of Ricardo Vi\u00f1es"],"prefix":"10.22501","author":[{"family":"H\u00e5kon Magnar Skogstad","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:43Z","timestamp":1727192683000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1399142\/1411285"}},"issued":{"date-parts":[[2022,2,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1399142","published":{"date-parts":[[2022,2,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667876},"posted":{"date-parts":[[2021,3,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Researching about the concept the carnaval body in Latinoamerica<\/jats:p>","DOI":"10.22501\/rc.1174464","type":"posted-content","created":{"date-parts":[[2021,3,9]],"date-time":"2021-03-09T17:06:59Z","timestamp":1615309619000},"source":"Crossref","is-referenced-by-count":0,"title":["Bitacora - Draws performative form a body performative"],"prefix":"10.22501","author":[{"family":"Jhon Alexander Barreto Guerra","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:01Z","timestamp":1727192821000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1174464\/1174465"}},"issued":{"date-parts":[[2021,3,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1174464","published":{"date-parts":[[2021,3,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:09Z","timestamp":1727238669238},"posted":{"date-parts":[[2021,2,27]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Role of Sound as a Component of Urban Experience is an audio-video essay that approaches urban sound as study material for sensorial analysis. An experiential experiment is carried when retransforming\/playing with sensorial components of an urban dweller. Research focuses on the record of urban sound in relation to image and its proximity to cinematic\/cinematographic experience. Playing with sensorial components reveals not only their influence on our ever-day perceiving of urban space but also the aesthetical nature of casual walks in the city. In other words, an analytical approach to urban sound reveals how cinematic everyday urban experience is or how cinema's sensorial base finds itself in the one of an urban dweller.<\/jats:p>","DOI":"10.22501\/rc.1119389","type":"posted-content","created":{"date-parts":[[2021,2,27]],"date-time":"2021-02-27T00:19:49Z","timestamp":1614385189000},"source":"Crossref","is-referenced-by-count":0,"title":["The Role of Sound as a Component of Urban Experience"],"prefix":"10.22501","author":[{"family":"Greta Pundzaite","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:02Z","timestamp":1727192822000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1119389\/1119390"}},"issued":{"date-parts":[[2021,2,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1119389","published":{"date-parts":[[2021,2,27]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670054},"posted":{"date-parts":[[2020,10,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The research of March-August 2020 approaches environment and society as constantly in-formation, while one is opening one\u2019s eyes upon them, always a participant of them.\n\n\nThe research was led by:\n\n\n-rigorous practice of observing, adapting and dancing \u2018out in the open\u2019.\n\nSeeking to uncover the dance that has the sizzling, restless feeling, the butterflies in the stomach. Dance that would primordially reveal connections between elements and in such way uncover the possibilities of experiencing what they are. Polyrhythms, joining consonant and dissonant were there as the access points.\n\n-reading Tim Ingold and diving into the understanding of the world that is worldling, that is changing as the weather does.\n\n-reading Contact Quarterly Contact Improvisation Source book, perceiving these meetings of letters as a platform that encourages to think around the power and various facets of contact; that inspires to build by staying in dialogue.\n\n-weaving webs of sharing one\u2019s doings with other artists - staying in dialogue in the form of letters and calls. With: mentor of the research Stephen Batts and the very inspiring colleagues Christine Quoiraud, R\u016bta Junevi\u010di\u016bt\u0117, Hanna Kritten Tangsoo, Magdalena Meindl, Lyllie Rouvi\u00e8re, Forough Fami, Iivy Meltaus and others. Last to mention the exchange that happened without my prior understanding with Giedr\u0117 \u0160mitien\u0117 who at that time was researching relations through the letters of poet Janina Degutyt\u0117.<\/jats:p>","DOI":"10.22501\/rc.1003168","type":"posted-content","created":{"date-parts":[[2020,10,1]],"date-time":"2020-10-01T07:01:15Z","timestamp":1601535675000},"source":"Crossref","is-referenced-by-count":0,"title":["Standing on Earth"],"prefix":"10.22501","author":[{"family":"Gr\u0117t\u0117 \u0160mitait\u0117","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:00Z","timestamp":1727192880000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1003168\/1003169"}},"issued":{"date-parts":[[2020,10,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1003168","published":{"date-parts":[[2020,10,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:16Z","timestamp":1727238676817},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,16]]},"abstract":"One of the first Spanish virtuoso violinists to achieve international recognition, Felipe Lib\u00f3n enjoyed a successful performing and composing career.\n\nHe worked and performed alongside other celebrated violinists: Rode, Kreutzer, and Baillot, who were founders of the so-called \"19th Century French Violin School\".\n\nWe will experiment with applying the extensive indications of the treatises (Baillot, Campagnoli, Woldemar, Spohr, Cartier, and Lib\u00f3n himself) to build a performance practice case study.<\/jats:p>","DOI":"10.22501\/koncon.1829595","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:22Z","timestamp":1725921442000},"source":"Crossref","is-referenced-by-count":0,"title":["Felipe Lib\u00f3n, the first travelling Spanish Virtuoso and his Violin Concerto No.6 (1812). A Performance Practice case study: I. Poco Allegro"],"prefix":"10.22501","author":[{"family":"Saya Ikenoya","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:34Z","timestamp":1727193334000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1829595\/1951232"}},"issued":{"date-parts":[[2023,5,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1829595","published":{"date-parts":[[2023,5,16]]}},{"indexed":{"date-parts":[[2023,4,9]],"date-time":"2023-04-09T04:27:16Z","timestamp":1681014436916},"posted":{"date-parts":[[2023,4,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.1642290","type":"posted-content","created":{"date-parts":[[2023,4,8]],"date-time":"2023-04-08T11:42:17Z","timestamp":1680954137000},"source":"Crossref","is-referenced-by-count":0,"title":["Bruno Caldas pre-examination materials"],"prefix":"10.22501","author":[{"family":"bruno caldas","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Mika Elo","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2023,4,8]],"date-time":"2023-04-08T11:42:17Z","timestamp":1680954137000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1642290\/1642291"}},"issued":{"date-parts":[[2023,4,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1642290","published":{"date-parts":[[2023,4,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:52Z","timestamp":1727238712341},"posted":{"date-parts":[[2024,8,24]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article delves into the immersive auditory landscape of Saturday Art School at a North Eastern University in the United States, exploring the profound role of sound in shaping creative environments. The paper employs three distinct movements (noise, clapping, and silence) as a trilogy of unraveling the intricate interplay between sound, text, and artistic expression. The visually performative writing reveals the transformative power of sound in the art classroom, highlighting the potential of embodied sound knowledge to shape our daily experiences and foster meaningful connections of noise, clapping, and silence. In this exploration, the boundaries between art and sound dissolve, inviting readers to engage in a multisensory journey where the interplay of sound and visuals fosters a new perspective on artistic expression and the relationship between individuals and their environment.<\/jats:p>","DOI":"10.22501\/rc.2162317","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T15:32:57Z","timestamp":1725550377000},"source":"Crossref","is-referenced-by-count":0,"title":["The Auditory Weave of Saturday Art School in Three Movements"],"prefix":"10.22501","author":[{"family":"Ilayda Altuntas Nott","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:40:54Z","timestamp":1727192454000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2162317\/2162318"}},"issued":{"date-parts":[[2024,8,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2162317","published":{"date-parts":[[2024,8,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:55Z","timestamp":1727238715124},"posted":{"date-parts":[[2023,11,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The weft is an article that requests to hold time and attention about time-based art practices, especially the ones that rely on time as a medium with the usage of technology and multimedia formats to be presented live in the case of performance art, for example. The article is more than a dialogue of a theory, it is a speculation about the future of these practices in terms of cultural impact and sustainability. The questions and speculations posed a question about the status of these practices within the facilitation in educators and practitioners related to Time.<\/jats:p>","DOI":"10.22501\/rc.2411209","type":"posted-content","created":{"date-parts":[[2023,11,28]],"date-time":"2023-11-28T22:03:14Z","timestamp":1701208994000},"source":"Crossref","is-referenced-by-count":0,"title":["The weft. Time-based media arts and cross-art practices."],"prefix":"10.22501","author":[{"family":"Sergio Patricio","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:01Z","timestamp":1727192521000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2411209\/2411208"}},"issued":{"date-parts":[[2023,11,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2411209","published":{"date-parts":[[2023,11,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:57Z","timestamp":1727238717300},"posted":{"date-parts":[[2023,5,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is not a thesis of trying to mine a singular understanding, but a collecti(ion)(ve) body of research composed into a gesture. Other than my memories, I have only grazed the surface of the topics I will discuss (even then, memories are at the fragile grace of synaptic connections) There are holes here, tears that will take a lifetime to mend. As I will mention later, I am not interested in a singular whole. Holes, however, are curious places with a warm spot for happenings, so I am okay with the holes. \n\nAll patchworks are several and my obsession with their cobbled nature does not mean there are no moments of stillness and clarity. This work is an archive of the muddiness of being and I invite you to draw parallels with your own logic as you stumble through this patchy, leaky, weed forest.<\/jats:p>","DOI":"10.22501\/rc.2123498","type":"posted-content","created":{"date-parts":[[2023,5,6]],"date-time":"2023-05-06T08:22:28Z","timestamp":1683361348000},"source":"Crossref","is-referenced-by-count":0,"title":["Splitting Mammalian Weeds: Monster for a Memory"],"prefix":"10.22501","author":[{"family":"Shana De Villiers","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:43:18Z","timestamp":1727192598000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2123498\/2123499"}},"issued":{"date-parts":[[2023,5,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2123498","published":{"date-parts":[[2023,5,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:00Z","timestamp":1727238720013},"posted":{"date-parts":[[2022,9,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I have always been very engaged in the phenomenon of beauty. Not in the sense of being pretty, but beauty as that special ambience certain objects or spaces or even humans can have. I wonder and puzzle with questions like: \nWhat makes something beautiful? Can one practise the creation of beauty? How do I create beauty? Is the creation of beauty a matter of talent? Or a matter of professional culture? So, I am not only absorbed in the phenomenon of beauty itself but also in the act of beauty-creation. And in how other people experience the beauty I have created. Where other people see only bricks and numbers, I have always seen patterns in both brick walls and phone numbers. So, if other people don\u2019t see what I see, how do I then communicate with them in objects and spaces?\n\nThese are some of the questions I set out to answer in the artistic research project, I call Narrating Material Aesthetics. With the project I want to explore how we as designers embed stories and meaning in the objects we create.<\/jats:p>","DOI":"10.22501\/rc.1726611","type":"posted-content","created":{"date-parts":[[2022,9,2]],"date-time":"2022-09-02T08:49:44Z","timestamp":1662108584000},"source":"Crossref","is-referenced-by-count":0,"title":["Beauty and the Act of Narrating Material Aesthetics"],"prefix":"10.22501","author":[{"family":"Maria H\u00f8gh-Mikkelsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:14Z","timestamp":1727192654000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1726611\/1726612"}},"issued":{"date-parts":[[2022,9,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1726611","published":{"date-parts":[[2022,9,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:02Z","timestamp":1727238722308},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time. \n\nIndividual micro-curated expositions are linked together for www.covidglossary.net in order to generate non-linear readings of the pandemic.<\/jats:p>","DOI":"10.22501\/rc.1274503","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T08:00:44Z","timestamp":1622707244000},"source":"Crossref","is-referenced-by-count":0,"title":["Urges- Longing - Memory"],"prefix":"10.22501","author":[{"family":"moomal shekhawat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Vastavikta Bhagat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:48Z","timestamp":1727192748000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1274503\/1274504"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1274503","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:05Z","timestamp":1727238725017},"posted":{"date-parts":[[2019,12,25]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Narratives of Imperfection is a series of explorations on repair, healing and transformation. The exhibition shows selected works that are part of a long term research with Kin Tsugi. This technique is a 16th century Japanese craft of visually mending broken ceramics where the crack or fault is emphasized and embellished rather than hidden. Kin Tsugi follows the philosophy of Wabi-sabi \u2013 a world view centered around the acceptance of transience and imperfection; beauty is \u201cimperfect, impermanent, and incomplete.\u201d\nTraditionally, Kin Tsugi shines beautifully gold or silver; underneath it uses urushi, a plant-based adhesive. Narratives of Imperfection expands the concept and practice of Kin Tsugi with different materials.<\/jats:p>","DOI":"10.22501\/rc.761499","type":"posted-content","created":{"date-parts":[[2019,12,25]],"date-time":"2019-12-25T19:38:51Z","timestamp":1577302731000},"source":"Crossref","is-referenced-by-count":0,"title":["Narratives of Imperfection"],"prefix":"10.22501","author":[{"family":"Christina Stadlbauer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:35Z","timestamp":1727192915000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/761499\/761500"}},"issued":{"date-parts":[[2019,12,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.761499","published":{"date-parts":[[2019,12,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:04Z","timestamp":1727238724833},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nThe pandemic created a series of new offences and crimes that were not seen before, from sneezing to black marketeering, the idea of crime and society changed with the changing health crisis.<\/jats:p>","DOI":"10.22501\/rc.1282761","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T11:56:38Z","timestamp":1622634998000},"source":"Crossref","is-referenced-by-count":0,"title":["New Offence New Crime"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:37Z","timestamp":1727192797000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282761\/1282762"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1282761","published":{"date-parts":[[2021,6,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:06Z","timestamp":1727238726155},"posted":{"date-parts":[[2015,8,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Complete and revised version in origin of the interview with performance artist duo VestAndPage by Valeria Romagnini with additional questions by Karlyn De Jong, partly published in Personal Structures, vol. II, 2013. The artists analyze in depth issues such as the \"here and now\", the position of the Self, the value of freedom, relational paradigms and the importance of the audience.<\/jats:p>","DOI":"10.22501\/rc.207215","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:47Z","timestamp":1498067627000},"source":"Crossref","is-referenced-by-count":0,"title":["My Body Asking Your Body Questions: VestAndPage (Verena Stenke &amp; Andrea Pagnes) interviewed by Valeria Romagnini &amp; Karlyn De Jong (Personal Structures |GAA Foundation)"],"prefix":"10.22501","author":[{"family":"Andrea Pagnes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:07Z","timestamp":1727193007000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/207215\/207216"}},"issued":{"date-parts":[[2015,8,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.207215","published":{"date-parts":[[2015,8,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:12Z","timestamp":1727238732010},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2016,4,6]]},"abstract":"An exposition concerning my collaborative webcam performance projects, focussing on \/ trying to determine the special aspects of machine mediated communication and collaboration.\n\nI wanted to use this opportunity to organise the material from three of my webcam performance projects (Huis Clos \/ No Exit, Duet Satz 1, 2, 3,4 and Angry Women) in a way that would reveal their essence in a few short lines. This, as I should have known, is impossible. \nIt is about performance, it is about processes and human beings being transformed. I formulated motives, described means and I managed to give this research a succint philosophical and political background. Relevant experiences and reactions are clustered and a short text and conclusion distilled.<\/jats:p>","DOI":"10.22501\/jar.18236","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T08:48:40Z","timestamp":1492418920000},"source":"Crossref","is-referenced-by-count":0,"title":["Trapped to Reveal - On webcam mediated communication and collaboration."],"prefix":"10.22501","author":[{"family":"Annie Abrahams","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:22Z","timestamp":1727193202000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/18236\/18237"}},"issued":{"date-parts":[[2016,4,6]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/jar.18236","published":{"date-parts":[[2016,4,6]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:15Z","timestamp":1727238735186},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2012,11,5]]},"abstract":"The taste of a tree; the connection of [the] senses, the transference of sensations to smell a colour or hear a drawing\u2026\n\nWalking around a tree, observing the colour, texture and outline, sitting to draw, to document the actualities of the object \u2026 this presents no interest \u2026 Walking around [the tree] observing the colour, texture, outline, breathing, mind and body absorbing tree, drawing through sensation the memory of the encounter \u2026 that presents the interest. \n\nThe exposition considers whether the senses are connected and transferable in memory sufficiently to draw the taste of tree through the association of recalled sensations. Adopting Merleau-Ponty\u2019s (2004, p.61) suggestion in The World of Perception, that, \u2018[\u2026] every quality is related to qualities associated with other senses. Honey is sugary. Yet sugariness in the realm of taste [\u2026] constitutes the same sticky presence as honey in the realm of touch.\u201d humhyphenhum seek to uncover whether it is possible to draw the taste of tree through the association of recalled sensations; are the senses sufficiently connected to be transferable?<\/jats:p>","DOI":"10.22501\/jar.344","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T08:48:40Z","timestamp":1492418920000},"source":"Crossref","is-referenced-by-count":0,"title":["The taste of tree?"],"prefix":"10.22501","author":[{"family":"Deborah Harty","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Phil Sawdon","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:14Z","timestamp":1727193254000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/344\/345"}},"issued":{"date-parts":[[2012,11,5]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/jar.344","published":{"date-parts":[[2012,11,5]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:19Z","timestamp":1727238739556},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,5,28]]},"abstract":"Name: Pauls Pokratnieks\nMain subject: Jazz Drums\nResearch Coach: Yvonne Smeets\nTitle of Research: \u201cArt of drumming within jazz piano trio\u201d\n\nResearch Question:\n How can I through historical and stylistic understanding of jazz drummers in significant piano trios during jazz history, improve my skill as an interactive trio member? \n What are the differences and similarities in drummers playing within significant jazz piano trios during the history of jazz? What are the characteristics of these great jazz piano trios? How can understanding of these differences, similarities and characteristics help me to react appropriately in different musical situations and combinations?\n\nSummary of Results:\nAs I remember myself jazz piano trio was always my favorite band format in jazz music. I like the simplicity of it and in the same time the magic how great players could get it to sound like an orchestra. Especially in this band format we can see how great musicians are as listeners and supportive players, there is a much bigger role and responsibility for everyone to make the music interesting and happening than in bigger settings. Individual levels are equally important because every one of the musicians can choose directions where the music will go. Music is really about collective improvisation and truly listening to each other. This \u201cplatform\u201d is great to explore dynamics, interaction and to become as a one \u2013 a great rhythm section.\n After listening to all these albums and analyzing what the drummer chooses to play I understood that it\u2019s not just the drummer\u2019s personality that counts, but big impact to drummers decisions are what the other two band members are doing and suggesting in music. One needs always listen to each other and go one way musically. One\u2019s job within jazz trio setting is to make other musicians sound good and make their job easier and more comfortable. This setting is really fragile and it can work only if each member of trio is working towards the same goal. In different jazz styles the basic fundament of drummer is the same \u2013 to keep music going with nice feel and energy.\n During my presentation I will show and explain how I applied specific exercises\/concepts in my playing and I will perform with my own jazz piano trio to show different ways, approaches to play within this setting in different styles, with knowledge gained from this research.\n\nBiography:\n Pauls Pokratnieks is jazz and other improvised music style drummer and composer.\nUp until the age of 18 he actively performed in various local and international orchestras as a classical percussion player and took first prizes in competitions. At the age of 16 Pauls began to play a drum set and first developed an interest in jazz music. At the age of 18 he enrolled in the Riga Dome Choir School (RDCS) in the Jazz department, and there started to deeply study drums, jazz theory, harmony, bass, composition and other subjects. After graduating RDCS in 2009 Pauls decided to continue his music studies in Royal Conservatory in The Hague, The Netherlands. Now he is doing Master studies in Royal Conservatory in The Hague and working as freelance musician and teacher.<\/jats:p>","DOI":"10.22501\/koncon.65884","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:48:43Z","timestamp":1725922123000},"source":"Crossref","is-referenced-by-count":0,"title":["\"Art of drumming within jazz piano trio\""],"prefix":"10.22501","author":[{"family":"Pauls Pokratnieks","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:26Z","timestamp":1727193506000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/65884\/65885"}},"issued":{"date-parts":[[2015,5,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.65884","published":{"date-parts":[[2015,5,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:17Z","timestamp":1727238737965},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Names: \nBabylon Quartet: Kellen McDaniel, Danielle Daoukayeva, William McCleish, Leonid \nNikishin \n\nMain Subject: Chamber Music\n\nResearch Supervisors: Renee Jonker, Liesbeth Ackermans\n\nTitle of Research:\n\nBabylon Quartet: Ghosts, Mirrors, and The River: A case study in performance and compositional practices of modern electro acoustic music\n\nResearch Question:\n\nWhat are some of the important challenges faced in creating and performing works which utilize electronics, and what kinds of performance practices and compositional approaches can be used to mitigate and overcome these challenges?\n\nSummary of Results:\n\nThe use of electronics in music composition and performance continues to expand, both in commercially mainstream and artistically niche genres of music. This presents a growing set of demands on classically trained musicians who wish to perform music which uses electronics. This paper is mainly a primary source documentation of performance techniques, challenges and solutions presented by the members of Babylon Quartet in their preparation and performance of an original work for string quartet involving electronics. The piece was written by violist Kellen McDaniel and his brother Marshall McDaniel. It consists of first hand accounts of all four players as well as the two composers, detailing the process of first premiering the work, and then subsequently revising and adapting the work for future performances, as well as relevant technical explanation and documentation. The goal of this research is to provide insight and practical solutions on how some core challenges of electro-acoustic performance can be overcome from both compositional and performance perspectives.\n\nBiography:\n\nBabylon Quartet is a string quartet based in The Hague. Playing together for the past three years, they have been honored as recipients of Het Kersjesfonds Strijkkwartetstipendium as well as winning first place De Grote Kammermusik Prijs - De Doelen. They consist of violinists Leonid Nikishin (Russia) and Danielle Daoukayeva (Netherlands), violist Kellen McDaniel (USA), and Cellist William McCleish (Canada). Kellen McDaniel and his brother Marshall McDaniel are a composing duo from Los Angeles, California. They have composed works for the concert hall and theater, as well as film and television.<\/jats:p>","DOI":"10.22501\/koncon.345691","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:45:59Z","timestamp":1725921959000},"source":"Crossref","is-referenced-by-count":0,"title":["Babylon Quartet: Ghosts, Mirrors, and The River"],"prefix":"10.22501","author":[{"family":"Babylon Quartet","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:54Z","timestamp":1727193474000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/345691\/345692"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.345691","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:22Z","timestamp":1727238742194},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,12,31]]},"abstract":"This exposition is part of my PhD thesis that discusses the possibilities of building approaches in museological institutions, based on specific case studies that were visited and problematized during the study. The result is an experimental inventory of possibilities for critical action in these legitimating spaces of art and history - with an interest in the decoding of their discourses and strategies, revealing their power games, explicit or implicit, and often moving in the opposite direction to their procedures.<\/jats:p>","DOI":"10.22501\/ruu.571956","type":"journal-article","created":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T10:39:07Z","timestamp":1577788747000},"source":"Crossref","is-referenced-by-count":0,"title":["Ways of Visiting: non-traditional and peripheral approaches to museums"],"prefix":"10.22501","author":[{"family":"Bruno Moreschi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:23Z","timestamp":1727193683000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/571956\/571957"}},"issued":{"date-parts":[[2019,12,31]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/ruu.571956","published":{"date-parts":[[2019,12,31]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:28Z","timestamp":1727238748089},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2022,3,14]]},"abstract":"The processual sculpture \"Fragments\" is in permanent development and consists of artefacts of the \"Rottings Sounds\" project of artistic research*. Waste, things collected, things stored and things put aside, texts, pictures, data, sounds etc. are the basis of the shape-changing work. It is located at the Auditorium of Rotting Sounds. For this exposition, media representations of physical fragments have been arranged, then subjected to multiple stages of erosion processes specific to digital data. Object or exhibition, museum or archive, collection or documentation are moments of intrinsic research and decomposition, accompanying the process and resting in the distant but immediate eye of the virtual observer.\n \n*\"Rotting Sounds \u2013 Embracing the temporal deterioration of digital audio\" is a cooperation of the mdw \u2013 University of Music and Performing Arts Vienna, the University of Applied Arts Vienna and the Academy of Fine Arts Vienna. It is funded by the Austrian Science Fund (FWF) as project AR445-G24.<\/jats:p>","DOI":"10.22501\/vis.1283942","type":"journal-article","created":{"date-parts":[[2022,3,14]],"date-time":"2022-03-14T12:05:20Z","timestamp":1647259520000},"source":"Crossref","is-referenced-by-count":0,"title":["Fragments in Time"],"prefix":"10.22501","author":[{"family":"Tobias Leibetseder","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Till Bovermann","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Thomas Grill","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"almut schilling","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:49Z","timestamp":1727194129000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1283942\/1340975"}},"issued":{"date-parts":[[2022,3,14]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/vis.1283942","published":{"date-parts":[[2022,3,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:25Z","timestamp":1727238685365},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2013,12,8]]},"abstract":"This article presents two operas in the context of artistic research: OMNIVORE, an experimental mobile application designed to be experienced with mobile devices, and LA FIGURE DE LA TERRE, a stage performance using reactive audiovisual projections. As the librettist and director of both operas I examine what kind of means and ways of content creation and presentation mediatized opera can bring to librettists and directors. This introduction presents a model for approaching the two differing artworks and sheds light on how they can be structured in the context of artistic research. Later the actual research will explore how the libretto, the storyboard and the structure defining media manuscript are built. The work process of the director and the production chain become pronounced. In this way the research produces new practice-based knowledge about the mediatized nature of opera. The article is in Finnish.<\/jats:p>","DOI":"10.22501\/ruu.44413","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:48Z","timestamp":1503649488000},"source":"Crossref","is-referenced-by-count":0,"title":["Mediatisoitunut ooppera - johdanto tutkimukseen"],"prefix":"10.22501","author":[{"family":"Jaakko Nousiainen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:51Z","timestamp":1727193891000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/44413\/46024"}},"issued":{"date-parts":[[2013,12,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ruu.44413","published":{"date-parts":[[2013,12,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:31Z","timestamp":1727238691091},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,3,15]]},"abstract":"Why does one continue beyond the saturation point? This bilingual exposition discusses repetition and difference while performing with trees, and uses as an example the video Year of the Pig with a Tatarian Maple performed in Nobelparken in Stockholm during 2019 as part of the project Performing with Plants at Stockholm University of the Arts. The exposition consists of a brief version of the video, documentation of the working process, and an essay with references. The aim is to show how repetition produces small (and big) differences and therefore makes a difference. And how it in this case led to a new project, Meetings with Remarkable and Unremarkable Trees.<\/jats:p>","DOI":"10.22501\/vis.857358","type":"journal-article","created":{"date-parts":[[2021,3,14]],"date-time":"2021-03-14T23:08:08Z","timestamp":1615763288000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond the Saturation Point"],"prefix":"10.22501","author":[{"family":"Annette Arlander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:53Z","timestamp":1727194133000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/857358\/857359"}},"issued":{"date-parts":[[2021,3,15]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/vis.857358","published":{"date-parts":[[2021,3,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:43Z","timestamp":1727238643367},"reference-count":0,"publisher":"Society for Artistic Research","issue":"University of Applied Arts Vienn","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2017,6,27]]},"abstract":"Since the 20th century the relationship between ecology and the arts has increasingly shaped various concepts of performance art. These have developed training and working systems such as biomechanics, somatic dance techniques or psychological realistic acting methods (Giannachi and Steward 2005) based on the analysis of natural phenomena. However, the life sciences have fundamentally changed what we understand by nature and ecology and, as the philosopher and biologist Nicole C. Karafyllis explains, the Aristotelian demarcation between nature and technology as a separation between what grows and what does not is no longer valid. Agri-technology and biotechnology methods such as genetic engineering or cloning mean that life forms can to a great extent also be artificial or technological. Consequently, this project, \u201cThe Performative Biofact\u201d, aims to rethink and practically research this relationship.\n\nThe theories of new materialism, and in particular the work of the scientist Karen Barad, who questions the dichotomy between ontology and epistemology, open up new perspectives on the relationship between material and performativity, which have previously only been partially taken into account in performance theory and practice.\n\nThis project is developing a new experimental process involving the provocative production of a semi-artificial, semi-natural being, with the equal treatment of apparatus, humans and non-humans. In Nicole C. Karafyllis\u2019s terminology, the hybrid being that is to be created, whose ontological status alternates between animate and inanimate, can be described as a biofact. \n\nWe question the history that the performative production of material derives from and how technological renewal will change our understanding of ecology and art in future. This takes place through the inclusion of historical, culturally relevant relics. New biofacts will be created out of this biological, animalistic material. In this interaction between the human and technology, the figure of the animal also enters the process. \n\nThereby we seek to avoid a solely anthropocentric perspective on the process and foster new creative solutions. The challenge is to avoid the anthropomorphising of the animal, and instead to liberate it from its passive position as the exploited \u201cother\u201d.\n\nThe set-up to be developed together with the co-researchers in this project is intended to unite transdisciplinary methods of archaeology, performance, molecular biology and genetics.\nThrough the concept of performative creation of a biofact in a model experiment, new scope for action and perception arises and offers opportunities to continue the research on the constantly changing relationship between ecology and the arts.\n\nCooperation Partners:\n\nFelix Grun, PhD\nDirector MS Facility, Department of Chemistry, University of California IrvineIrvine\n\nDr. Jens Hauser\nUniversity of Copenhagen, Department of Arts and Cultural Studies &\u00a0Faculty of Health and Medical Sciences - Medical Museion\n\nRisa Puleo\nCurator, Bemis Center for Contemprorary Art, Omaha, Nebraska\n\nDr. Mark Rinnerthaler\nUniversit\u00e4t Salzburg,\u00a0 FB-Zellbiologie\/Abt. Genetik\n\nDr. Markus Schmidt\u00a0\nBIOFACTION KG, Wien\n\nProf. Dr. Klaus Spiess\nMedizinische Universit\u00e4t Wien, Institut f\u00fcr medizinische \u00a0Psychologie, Zentrum f\u00fcr Public Health\n\nProf. Paul Vanouse\nDepartment of Art, Director of\u00a0Coalesce Center for Biological Art, University at Buffalo\n\nProf. Victoria Vesna\nUCLA Art\/Sci Center, California\n\nCenter for Human - Computer Interaction, University Salzburg\u00a0<\/jats:p>","DOI":"10.22501\/repos.353726","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:06:27Z","timestamp":1727193987000},"source":"Crossref","is-referenced-by-count":0,"title":["\u201cThe Performative Biofact\u201d"],"prefix":"10.22501","author":[{"family":"Lucie Strecker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:06:29Z","timestamp":1727193989000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/353726\/353727"}},"issued":{"date-parts":[[2017,6,27]]},"references-count":0,"journal-issue":{"issue":"University of Applied Arts Vienn"},"URL":"https:\/\/doi.org\/10.22501\/repos.353726","published":{"date-parts":[[2017,6,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:44Z","timestamp":1727238644140},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2016,10,3]]},"abstract":"Esit\u00e4n tekstiss\u00e4ni, kuinka reaalisosialismin kuvasto, yhteiskuntatieteelliset metodit ja piirt\u00e4minen muodostavat monitieteisen tutkimuskokonaisuuden. Tutkimusprosessi etenee tutkimusaineistoa katsomalla ja piirt\u00e4m\u00e4ll\u00e4. My\u00f6s aineistonanalyysi toteutuu piirt\u00e4m\u00e4ll\u00e4. Verbalisoin t\u00e4ss\u00e4 tekstiss\u00e4 tutkimusprosessin eri vaiheita, l\u00e4hestymistavassani vaikuttavia tutkimusmetodeja ja aiheen kannalta olennaista poliittista historiaa l\u00e4hinn\u00e4 edesmenneiden sosialististen aikakauslehtien (DDR-Revue ja Neuvostoliitto) konteksteissa. Tuon piirrettyjen johtop\u00e4\u00e4t\u00f6sten rinnalle my\u00f6s sanallisen loppukoonnin. Mutta ihan aluksi, palatkaamme aikaan, jolloin reaalisosialismi tuli tiens\u00e4 p\u00e4\u00e4h\u00e4n.<\/jats:p>","DOI":"10.22501\/ruu.245438","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:11Z","timestamp":1503649451000},"source":"Crossref","is-referenced-by-count":0,"title":["Poliittisen utopian sinnikkyys \u2013 Representaatioanalyysi\u00e4 piirt\u00e4m\u00e4ll\u00e4"],"prefix":"10.22501","author":[{"family":"Kalle Lampela","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:03:36Z","timestamp":1727193816000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/245438\/245439"}},"issued":{"date-parts":[[2016,10,3]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/ruu.245438","published":{"date-parts":[[2016,10,3]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:46Z","timestamp":1727238646093},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2023,11,13]]},"abstract":"Becoming Animal has sought to explore the boundaries and parralels between the musical bodies of different creatures.<\/jats:p>","DOI":"10.22501\/nmh-ar.1787404","type":"journal-article","created":{"date-parts":[[2023,11,13]],"date-time":"2023-11-13T14:34:50Z","timestamp":1699886090000},"source":"Crossref","is-referenced-by-count":0,"title":["Becoming Animal_Simon L\u00f8ffler"],"prefix":"10.22501","author":[{"family":"Simon L\u00f8ffler","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Jonas Howden Sj\u00f8vaag","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:21Z","timestamp":1727194101000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1787404\/1787405"}},"issued":{"date-parts":[[2023,11,13]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1787404","published":{"date-parts":[[2023,11,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:46Z","timestamp":1727238646992},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,11,7]]},"abstract":"This article explores the rationale behind a performance given by the authors at the Unfolding the Process symposium held in Oslo in November 2015. For this occasion, the authors devised a new version of Bach\u2019s Goldberg Variations that builds upon Emmerson\u2019s arrangement of the work for two pianos in 2012. A shortened version of the work (c.30 minutes) was designed that aimed nonetheless to maintain the original work\u2019s sense of structural balance and coherence. This version involved the transposition of a number of variations into different keys to explore the possibility of adding a satisfying tonal structure to our experience of the work, in a context where both performers see potential communicative value in 'playing with' dimensions of original masterworks with a view to giving fresh perspective to the listener experience. The article is written from the alternating perspectives of the authors; one of which is primarily concerned with the rationale and process of devising the arrangement while the other reflects upon the performative aspects and implications arising from it.<\/jats:p>","DOI":"10.22501\/nmh-ar.530427","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T11:53:40Z","timestamp":1618314820000},"source":"Crossref","is-referenced-by-count":0,"title":["Modulations through time"],"prefix":"10.22501","author":[{"family":"Stephen Emmerson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Bernard Lanskey","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:33Z","timestamp":1727194113000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/530427\/530428"}},"issued":{"date-parts":[[2019,11,7]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.530427","published":{"date-parts":[[2019,11,7]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671388},"posted":{"date-parts":[[2013,10,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Monuments in x YU<\/jats:p>","DOI":"10.22501\/rc.55226","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:23Z","timestamp":1498067723000},"source":"Crossref","is-referenced-by-count":1,"title":["GjokeGojani interview from Peje"],"prefix":"10.22501","author":[{"family":"Sara Benaglia","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:34Z","timestamp":1727193034000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/55226\/55227"}},"issued":{"date-parts":[[2013,10,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.55226","published":{"date-parts":[[2013,10,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,12]],"date-time":"2024-12-12T05:35:09Z","timestamp":1733981709593,"version":"3.30.2"},"posted":{"date-parts":[[2024,12,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the \u2018walkies\u2019 as a co-authored act of \u2018making\u2019 or \u2018performing\u2019 together.\n\nAs part of the practice based element of my PhD thesis, Deep Canine Topography, 10 - 10 - 10 Edge-lands, is a further investigation of the methodologies of Deep Canine Topography (O'Brien & O'Brien 2018). This series operates as a visual and sonic essay for each walk and explores memory, deep topographical imprints, and entropy between wild and post-industrial spaces and sub-urban sprawl, on the edge of the city of Leicester and the county of Leicestershire. During the 2020 Covid 19 pandemic lockdown, as part of permitted exercise, we undertook 10 Walks, of up to 10 miles, within a 10 mile circle of our home, just outside of the city centre. Covid 19 restrictions, remained in place in Leicester longer than in any other UK city or region.\n\nEach title will take you to a different walk.\n\nClick return to return to the title page.\n\nClick Base Map to open a GoogleMap of the walk locations and GPS tracklogs (in a new window).\n\nClicking on the round MAP circle, on the title page, will take you to the central exposition of my PhD: Deep Canine Topography.<\/jats:p>","DOI":"10.22501\/rc.930702","type":"posted-content","created":{"date-parts":[[2024,12,11]],"date-time":"2024-12-11T12:23:45Z","timestamp":1733919825000},"source":"Crossref","is-referenced-by-count":0,"title":["10 - 10 - 10 Edgelands:"],"prefix":"10.22501","author":[{"family":"O'Brien & O'Brien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,11]],"date-time":"2024-12-11T12:23:45Z","timestamp":1733919825000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/930702\/930703"}},"issued":{"date-parts":[[2024,12,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.930702","published":{"date-parts":[[2024,12,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:13Z","timestamp":1727196013319},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,13]]},"abstract":"Name: Charlotte Houberg\n\nMain Subject: Classical Singing Research Supervisor: Gerda van Zelm\n\nTitle of Research:\nBody language of a singer on stage\n\nResearch Question:\nHow can a singer on stage use his body language to support his expression?\n\nSummary of Results:\nBy the use of different research methods, there have been created ideas and strategies to become aware of your body language and how to use it in a confident way on stage. Body language is, next to singing, an equally important communication tool for singers on stage. It shows knowledge of the movements of the body and understanding of the role or character. The libretto can be translated into body language, so the audience can understand it without knowing exactly what text is sung. It can be concluded that all body parts can be chosen to show a certain mood which fits within the role or character. Gestures do not have to be over- exaggerated, because the audience is able to see and interpret small signs, even from a distance. Consciously chosen body language is easier to decode than spontaneous body language and can be more convincing, even though the singer is not in that certain\nmood. Body language is part of the luggage of a singer and a tool for showing his expression and intentions.\nI chose for the form of a research paper, because I would like to share new or expanded knowledge with my colleagues by doing an in-depth research.\n\nBiography:\nCharlotte (1991) takes part in Studio 32, an opera studio of her teacher Henny Diemer. She sang the roles Amor (Cadmus et Hermione), Zerlina (Don Giovanni) and Bess (Porgy and Bess). She had a tour with Sinfonia Rotterdam and sang solo with several Dutch orchestras. In Jordan she performed Miroir de Peine of Andriessen with the Amman Orchestra. She has been invited for chamber concerts and has given song recitals on several stages of the Netherlands. From the oratorio repertoire she sings regularly the Matthew Passion (Bach) and the requiem (Faur\u00e9 and Mozart). She will sing the role First Witch in the new opera of Andriessen (The Theatre of the World) in LA and Amsterdam.<\/jats:p>","DOI":"10.22501\/koncon.104326","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:47:57Z","timestamp":1725922077000},"source":"Crossref","is-referenced-by-count":0,"title":["Body Language"],"prefix":"10.22501","author":[{"family":"Charlotte Houberg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:18Z","timestamp":1727193498000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/104326\/248642"}},"issued":{"date-parts":[[2016,6,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.104326","published":{"date-parts":[[2016,6,13]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:03Z","timestamp":1727196003028},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,11,6]]},"abstract":"Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the \u201csoloistic small\u201d and the \u201corchestral large\u201d. A new ensemble model, the \u201ctriharmonic ensemble\u201d with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. \n\nThis paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? \n\nSince its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. \n\nChamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research.\n\nThis text is produced in 2018.<\/jats:p>","DOI":"10.22501\/nmh-ar.481294","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T12:06:58Z","timestamp":1618315618000},"source":"Crossref","is-referenced-by-count":0,"title":["Symphonies Reframed"],"prefix":"10.22501","author":[{"family":"Gjertrud Pedersen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Sigstein Folger\u00f8","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:34Z","timestamp":1727194114000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/481294\/481295"}},"issued":{"date-parts":[[2019,11,6]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.481294","published":{"date-parts":[[2019,11,6]]}},{"indexed":{"date-parts":[[2025,8,25]],"date-time":"2025-08-25T12:40:08Z","timestamp":1756125608963,"version":"3.44.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,17]],"date-time":"2025-07-17T00:00:00Z","timestamp":1752710400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,7,17]]},"abstract":"Warm-up routines are essential for preventing injuries and enhancing performance, not only for athletes but also for musicians. While technical exercises like scales are common, physical and mental preparation is often overlooked. Research shows that musicians experience a high incidence of injuries, yet many neglect a comprehensive warm-up that includes both physical and mental aspects. \nThis study explores the importance of incorporating a warm-up routine that goes beyond the instrument itself. It introduces a \"warm-up menu\" that allows musicians to select exercises based on available time, integrating disciplines and techniques such as Yoga, Body Mapping, Flow, and Imagery, while also highlighting the significance of Core engagement for musicians. These practices enhance body awareness, reduce tension, and promote overall well-being, ultimately helping to prevent injuries. The research combines a literature review, expert interviews, and a case study in which three musicians experimented with different warm-up routines over a week, reflecting on their experiences and the impact on their performance and physical condition.\nFindings suggest that incorporating non-instrumental warm-ups, especially those influenced by Yoga, can reduce tension, improve posture, and enhance performance while lowering injury risks. Experts, including musicians, psychologists, and physiotherapists, confirmed these benefits but emphasized that warm-ups should be part of a broader injury prevention approach. \nThis study provides initial insights into the benefits of holistic warm-ups and encourages further research. By understanding and implementing better warm-up strategies, musicians can cultivate a more sustainable and healthy career.<\/jats:p>\n keywords: warm-up, creative practice, physical and mental training for musicians, Body awareness, core, Injury prevention, case study, Musical Training Performance &amp; Cognition<\/jats:p>","DOI":"10.22501\/koncon.3197933","type":"journal-article","created":{"date-parts":[[2025,8,25]],"date-time":"2025-08-25T11:40:52Z","timestamp":1756122052000},"source":"Crossref","is-referenced-by-count":0,"title":["The Warm-Up Menu for Musicians: Strategies and a toolbox for achieving a healthy body-mind state for practicing and performing."],"prefix":"10.22501","author":[{"family":"Cristina Quesada Henares","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,8,25]],"date-time":"2025-08-25T12:05:42Z","timestamp":1756123542000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3197933\/3204107\/156\/4"}},"issued":{"date-parts":[[2025,7,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3197933","published":{"date-parts":[[2025,7,17]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T16:26:45Z","timestamp":1754152005019,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2025,4,8]],"date-time":"2025-04-08T00:00:00Z","timestamp":1744070400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2025,4,8]]},"abstract":"This exposition, entitled The Possibilities of Applying Elements of Czech Folk Theatre to Contemporary Street Performing Art, presents the process and conclusions of artistic research that explored the phenomenon of Baroque folk theatre performed in neighbourhood communities in the Czech countryside in the 18th and 19th centuries and the search for the application of its principles in today's theatre activity. For this research, in cooperation with the Diocesan Museum of Brno, two street productions were created in the vicinity of the Cathedral of Saints Peter and Paul in Brno to test the functionality of the means of folk theatre in today's context.\nThe exposition presents the initial considerations and methodology of the research, followed by a chapter-by-chapter description of the various theatrical principles in their historical context, how they were worked with in the investigated productions, and a summary of the benefits and problems uncovered. Finally, the major contributions of folk theatre to today's work are outlined, which were evident in two of the production forms. An essential part of this exposition is the audiovisual documentation of these two projects, which became the core of the practical artistic research.\n\n(CZ)\nTato expozice s n\u00e1zvem Mo\u017enosti aplikace prvk\u016f lidov\u00e9ho divadla na sou\u010dasnou inscena\u010dn\u00ed tvorbu pouli\u010dn\u00edho performativn\u00edho um\u011bn\u00ed prezentuje proces a z\u00e1v\u011bry um\u011bleck\u00e9ho v\u00fdzkumu, kter\u00fd se zab\u00fdval fenom\u00e9nem barokn\u00edho lidov\u00e9ho divadla hran\u00e9ho v sousedsk\u00fdch komunit\u00e1ch na \u010desk\u00e9m venkov\u011b 18. a 19. stolet\u00ed a hled\u00e1n\u00edm vyu\u017eit\u00ed jeho princip\u016f v dne\u0161n\u00ed divadeln\u00ed \u010dinnosti. Pro tento v\u00fdzkum vznikly ve spolupr\u00e1ci s Diec\u00e9zn\u00edm muzeem Brno dv\u011b pouli\u010dn\u00ed inscenace v okol\u00ed katedr\u00e1ly svat\u00fdch Petra a Pavla v Brn\u011b, na kter\u00fdch byla ov\u011b\u0159ov\u00e1na funk\u010dnost prost\u0159edk\u016f lidov\u00e9ho divadla v dne\u0161n\u00edm kontextu.\nV expozici naleznete v\u00fdchoz\u00ed \u00favahy a metodologii v\u00fdzkumu, n\u00e1sledn\u011b jsou v kapitol\u00e1ch popisov\u00e1ny jednotliv\u00e9 divadeln\u00ed principy v historick\u00e9m kontextu, jak s nimi bylo pracov\u00e1no ve zkouman\u00fdch inscenac\u00edch a shrnut\u00ed odhalen\u00fdch p\u0159\u00ednos\u016f i probl\u00e9m\u016f. V z\u00e1v\u011bru jsou nazna\u010deny nejv\u011bt\u0161\u00ed klady lidov\u00e9ho divadla pro dne\u0161n\u00ed tvorbu, kter\u00e9 byly na dvou inscena\u010dn\u00edch tvarech patrn\u00e9. Z\u00e1sadn\u00ed sou\u010d\u00e1st\u00ed t\u00e9to expozice je tak\u00e9 audiovizu\u00e1ln\u00ed dokumentace t\u011bchto dvou projekt\u016f, kter\u00e9 se staly j\u00e1drem praktick\u00e9ho um\u011bleck\u00e9ho v\u00fdzkumu.<\/jats:p>\n keywords: um\u011bleck\u00fd v\u00fdzkum, \u010cesko, lidov\u00e9 divadlo, divadlo, performance, sou\u010dasn\u00e9 divadlo, folklor, \u010desk\u00fd folklor, dramaturgie, re\u017eie, sc\u00e9nografie, kost\u00fdmy, hudba, artistic research, Czechia, folk theatre, theatre, theater, contemporary theatre, folklore, czech folklore, dramaturgy, directing, scenography, costumes, music<\/jats:p>","DOI":"10.22501\/artact.3368847","type":"journal-article","created":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:42Z","timestamp":1753096722000},"source":"Crossref","is-referenced-by-count":0,"title":["Mo\u017enosti aplikace prvk\u016f lidov\u00e9ho divadla na sou\u010dasnou inscena\u010dn\u00ed tvorbu pouli\u010dn\u00edho performativn\u00edho um\u011bn\u00ed - The Possibilities of Applying Elements of Czech Folk Theatre to Contemporary Street Performing Art"],"prefix":"10.22501","author":[{"family":"Michal Moravec","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Michal Moravec","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Vojt\u011bch Balcar","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:42Z","timestamp":1753096722000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3368847\/3368834"}},"issued":{"date-parts":[[2025,4,8]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/artact.3368847","published":{"date-parts":[[2025,4,8]]}},{"indexed":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T21:40:13Z","timestamp":1737495613485,"version":"3.33.0"},"posted":{"date-parts":[[2025,1,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"How to How to Exercise Self-Control is a performative video piece centred around the Irritation Channelling Rings, created for the Tactilite exhibition at Hobusepea Gallery in 2021.\n\nThese jewellery pieces invite a pseudomagical interaction, crafting a ritual where the rings serve as tools to soothe irritation and foster emotional transformation. Their dynamic nature is portrayed through movement, bodily interactions, and adaptability, with the visual blur enhancing their fluidity and transformative essence.\n\nEmploying Haptic Visuality, this multisensory approach weaves together emotional resonance and speculative ritual, reimagining connection within a pseudomagical framework.\n\nIdea and performance: Darja Popolitova\nVideo effects: Jakob Tulve\nSound: Andres N\u00f5lvak\n\n\n\u00a9 Darja Popolitova<\/jats:p>","DOI":"10.22501\/rc.3353409","type":"posted-content","created":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T21:07:45Z","timestamp":1737493665000},"source":"Crossref","is-referenced-by-count":0,"title":["How to Exercise Self-Control"],"prefix":"10.22501","author":[{"family":"Jewellery witch Seraphita","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T21:07:46Z","timestamp":1737493666000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3353409\/3353410"}},"issued":{"date-parts":[[2025,1,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3353409","published":{"date-parts":[[2025,1,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:16Z","timestamp":1733202796053,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,10,10]]},"abstract":"A research project focusing on the sonification of proteomic data distributions provided the context for the current study of sonic information design, which was guided by multiple criteria emphasizing practical use as well as aesthetics. For this case, the auditory display of those sonifications would be judged useful if they were to enable listeners to hear differences in proteomic data associated with three different types of cells, one of which exhibited the neuropathology associated with Amyotrophic Lateral Sclerosis (ALS). \nA primary concern was to ensure that meaningful patterns in the data would not be lost as the data were transformed into sound, and so three different data sonifications were designed, each of which attempted to capitalize upon human auditory capacities that complement the visual capacities engaged by more conventional graphic representations. One of the data sonifications was based upon the hypothesis that auditory sensitivity to regularities and irregularities in spatio-temporal patterns in the data could be heard through spatial distribution of sonic components. The design of a second sonification was based upon the hypothesis that variation in timbre of non-spatialized components might create a distinguishable sound for each of three types of cells. A third sonification was based upon the hypothesis that redundant variation in both timbral and spatial features of sonic components would be even more powerful as a means for identifying spatio-temporal patterns in the dynamic, multidimensional data generated in modern proteomic studies of ALS. This paper will focus upon the sound processing underlying the alternative sonifications that were examined in this case study of sonic information design.<\/jats:p>","DOI":"10.22501\/jss.514438","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:55Z","timestamp":1733149555000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonic Information Design for the Display of Proteomic Data"],"prefix":"10.22501","author":[{"family":"William L. Martens","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:55Z","timestamp":1733149555000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/514438\/514439"}},"issued":{"date-parts":[[2018,10,10]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/jss.514438","published":{"date-parts":[[2018,10,10]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:02Z","timestamp":1733202782955,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Listening to history requires the historian to compose sonic events from the archive. This essay explores how Audible History has developed since Alain Corbin\u2019s ground-breaking Village Bells. The listening historian has broadened the scope of social and cultural history by rearranging existing and creating new narratives. However, historians need to go beyond interrogating the earwitnesses of aural cultures. They need to listen to sounds-as-objects and the acoustic context of events. Three concepts are introduced to develop a methodology for this: 1) silence, which is the silence of the archive as well as the role silence played in history\u2019s sonic register; 2) resonance, which demonstrates the way that resonances between people and their environment and among people created community; 3) echo, as a concept that allows for the objectification of sounds at the same time that it attends to the origins of sounds-as-objects.<\/jats:p>","DOI":"10.22501\/jss.290291","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:10Z","timestamp":1733149570000},"source":"Crossref","is-referenced-by-count":0,"title":["HISTORY AND ITS ACOUSTIC CONTEXT: SILENCE, RESONANCE, ECHO AND WHERE TO FIND THEM IN THE ARCHIVE"],"prefix":"10.22501","author":[{"family":"Maarten Walraven","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:10Z","timestamp":1733149570000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/290291\/290292"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.290291","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:03Z","timestamp":1733202783817,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,12,14]]},"abstract":"The rich and well-preserved osteological material from the archaeological complex of Ajvide, Gotland (3200\u20122300 cal BC), provides favorable conditions for studying prehistoric sounds and soundscapes. Archaeological excavations at the site have uncovered tubular bone artifacts and concentrations of animal tooth pendants that resemble whistles and rattles, the earliest types of sound instruments. The remains of hunted animals, such as seals, boars, dogs and birds, provide a lively picture of the species that were present in the environment. This article aims to evoke the sonic experiences of the people utilizing the site of Ajvide and explore how these hunter-gatherers constructed and responded to their sonic environment. The results of the osteological, organological and soundscape analyses are presented in the form of a scholarly text, samples of studio and field recordings, and a soundtrack that fuses the results together into a nine-minute piece of sound art.<\/jats:p>","DOI":"10.22501\/jss.408924","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:00Z","timestamp":1733149620000},"source":"Crossref","is-referenced-by-count":0,"title":["Recapturing the sounds and sonic experiences of the hunter-gatherers at Ajvide, Gotland, Sweden (3200\u20122300 cal BC)"],"prefix":"10.22501","author":[{"family":"Riita Rainio","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:00Z","timestamp":1733149620000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/408924\/408925"}},"issued":{"date-parts":[[2017,12,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jss.408924","published":{"date-parts":[[2017,12,14]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:09Z","timestamp":1733202789088,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,3,30]]},"abstract":"Following Rosalyn Deutsche, this essay examines how the binary opposition enforced by the boundaries of domesticity enforce containment and enclosure, particularly of excluded bodies, i.e. the homeless. This enclosure, which is read through Henri Lefebvre\u2019s concept of the decorporealization of space, is enforced primarily through a logic of visuality and compartmentalization. This essay proposes sound as a means to counter these states of enclosure. Using concepts of dwelling (Heidegger), weaving (Ingold), and nomadism (Braidotti), a sonic recorporealization is developed through personal, domestic sound art experimentation and instrument building. The results and repercussions are then examined in the context of the singular home, its local community, and society more broadly, wherein sound is proposed as a means to instigate practices of spatial recorporealization.<\/jats:p>","DOI":"10.22501\/jss.941753","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:21Z","timestamp":1733149521000},"source":"Crossref","is-referenced-by-count":0,"title":["Space, Sound, and the Home(less)"],"prefix":"10.22501","author":[{"family":"Kevin Toks\u00f6z Fairbairn","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:21Z","timestamp":1733149521000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/941753\/941754"}},"issued":{"date-parts":[[2021,3,30]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jss.941753","published":{"date-parts":[[2021,3,30]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:09Z","timestamp":1733202789587,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,12,6]]},"abstract":"The article investigates the mediation of homey ambiences or domestic atmospheres and their relation to the outdoors in film and media productions. The article examines how human mediation impacts the perception of site-specific ambient sounds of the home that are aesthetically deployed as auditory backdrops in films and media artworks. The focus is on examining\u00a0the processes of reconstructing the site of the home through the reproduction, mediation, and rendering of the relatively closed and private indoor sonic environment and its complex relationship to the public outdoors.<\/jats:p>","DOI":"10.22501\/jss.1440447","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:12Z","timestamp":1733149512000},"source":"Crossref","is-referenced-by-count":0,"title":["Room Ambience: Home as Heard in Film and Media Arts"],"prefix":"10.22501","author":[{"family":"Budhaditya Chattopadhyay","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:13Z","timestamp":1733149513000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1440447\/1440448"}},"issued":{"date-parts":[[2021,12,6]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jss.1440447","published":{"date-parts":[[2021,12,6]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:30Z","timestamp":1733202750023,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"03","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,29]]},"abstract":"The television coverage of the 2011 Occupy Wall Street Movement discloses a tension between the attention-getting sounds of protesters and the networks\u2019 often dismissive reporting of the sights and sounds of their protests. While the conflict over control of representation has characterized the historical reporting of protest, the Occupy movement presented the networks with particular problems in coverage, since the encampments and associated activities did not afford easy or sensational sound bites. The diversity of the Occupy soundscape, which drew upon typical protest auralities but in new configurations, contributed to the trivializing of the movement as projected in the living rooms of Americans. To situate this phenomenon, the essay examines the prior history of televisual news reporting of the sounds of collective protest, from the Civil Rights movement and Vietnam War protests to protest actions related to the Gulf War\/War on Terror, the Tea Party and the Arab Spring.<\/jats:p>","DOI":"10.22501\/jss.263978","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:49Z","timestamp":1733149549000},"source":"Crossref","is-referenced-by-count":0,"title":["The Envoicing of Protest: Occupying Television News through Sound and Music"],"prefix":"10.22501","author":[{"family":"James Deaville","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:49Z","timestamp":1733149549000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/263978\/263979"}},"issued":{"date-parts":[[2018,6,29]]},"references-count":0,"journal-issue":{"issue":"03"},"URL":"https:\/\/doi.org\/10.22501\/jss.263978","published":{"date-parts":[[2018,6,29]]}},{"indexed":{"date-parts":[[2025,7,8]],"date-time":"2025-07-08T04:10:46Z","timestamp":1751947846817,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,7]],"date-time":"2025-07-07T00:00:00Z","timestamp":1751846400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,7,7]]},"abstract":"As a tourist in London during the late 17th century, it was mandatory to visit the House of Bedlam, the biggest mental institution in the city. The patients, being considered completely unreasonable, were attributed animalic characteristics, which was reflected in the brutal treatment behind the bars. The ultimate mirroring of the culture of exposing madness could be found in the theatre. Composers for the theatre, in wanting to explore the inability of reason in humanity, wrote The Mad Songs, where the madness is reflected in quick shifts in emotions. These songs have been my tool to gain access to a broader palette of expression in singing. I have developed a handbook of historically informed techniques and documented my process of embodying them, using sources such as Le Brun's \"Conf\u00e9rence (...)\" (1698); Walter Charleton's \"Natural History of the Passions\" (1701); Aaron Hill's \"The Art of Acting\" (1753); and George Vandenhoff's \"The Art of Elocution\" (1846). My quest for madness has also become a quest for genuinity. When Charles Le Brun conveyed his theory of expression on canvas, he strongly distinguished the difference between painting tense muscles and painting genuine expression. This has become a guideline for my research: in order to gain genuinity, one has to channel a reaction and produce an impulse. This study is an attempt to bridge the gap between now and then, allowing for a deeper understanding of the Mad Songs, as well as encouraging others to dive into theatrical repertoire on its own premises.<\/jats:p>\n keywords: 17th century, acting, embodiment, English baroque music, historically informed practice, singing, theatre, vocal performance<\/jats:p>","DOI":"10.22501\/koncon.3013241","type":"journal-article","created":{"date-parts":[[2025,7,7]],"date-time":"2025-07-07T14:52:08Z","timestamp":1751899928000},"source":"Crossref","is-referenced-by-count":0,"title":["Tracing the Madness"],"prefix":"10.22501","author":[{"family":"Victoria Oftestad","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,7,7]],"date-time":"2025-07-07T14:52:09Z","timestamp":1751899929000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3013241\/3163789"}},"issued":{"date-parts":[[2025,7,7]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3013241","published":{"date-parts":[[2025,7,7]]}},{"indexed":{"date-parts":[[2025,7,11]],"date-time":"2025-07-11T12:10:07Z","timestamp":1752235807378,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0082","type":"journal-article","created":{"date-parts":[[2025,7,11]],"date-time":"2025-07-11T11:39:31Z","timestamp":1752233971000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Rick Rubin, \u201cThe Creative Act: A Way of Being\u201d"],"prefix":"10.22501","author":[{"given":"Matthew Ryan","family":"Smith","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2025]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,7,11]],"date-time":"2025-07-11T11:39:32Z","timestamp":1752233972000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-rick-rubin-creative-act-way-being"}},"issued":{"date-parts":[[2025]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0082","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2025]]}},{"indexed":{"date-parts":[[2024,12,6]],"date-time":"2024-12-06T05:08:20Z","timestamp":1733461700329,"version":"3.30.1"},"posted":{"date-parts":[[2024,12,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The artistic research pilot project Challenging the Theater of Memory: Yiddish Song beyond Kitsch and Stereotype attempts to explore and deconstruct the ways that Jewishness is portrayed and embodied in the performance of Yiddish song through ethnographic research and musical performance. \n\nSociologist Michal Y. Bodemann\u2019s concept of the \u201cTheater of Memory\u201d (1996) articulates how Jewish participation in public life is co-opted into the German national narrative to affirm a post-Nazi multiculturalism [^1]. This framework suggests that the diversity and complexity of Jewish life are often instrumentalized, serving merely as a backdrop in the German or Austrian national narratives.\n\nAs a result of these dynamics, Yiddish culture and music are frequently presented through nostalgic tropes, stereotypical representations and in conjunction with the massive loss of the Shoah. Such representations often bolster hegemonic narratives instead of empowering Jewish minorities. Consequently, Yiddish singers become instrumental in either reinforcing or contesting the theater of memory through their artistic choices and performances. Our central question as artist-researchers was: How can we, artistically and through scholarly reflection, challenge and subvert the Theater of Memory as Yiddish performers on stage? \n\nIn our project we use the frame of a lecture \/ concert to reflect on how we encounter the Theater of Memory in our artistic practice. Drawing from our experiences of past performances, theory from both performance and Jewish studies as well as ethnomusicology, we developed a performance which weaves together music, our own writings and visuals. We presented this lecture-concert in multiple settings and documented it through auto-ethnographic research methods and audio\/visual recordings.\n\nProject supported by the: \n-Music and Minorities Research Center \n-Austrian Science Fund (FWF): Z 352-G26\n-Artistic Research Pilot Grant (2022) university of music and performing arts vienna (mdw)<\/jats:p>","DOI":"10.22501\/rc.2647393","type":"posted-content","created":{"date-parts":[[2024,12,5]],"date-time":"2024-12-05T09:51:42Z","timestamp":1733392302000},"source":"Crossref","is-referenced-by-count":0,"title":["Challenging the Theater of Memory. Yiddish Song beyond Kitsch and Stereotype (Pilot Project)"],"prefix":"10.22501","author":[{"family":"Benjamin Fox-Rosen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Isabel Frey","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,5]],"date-time":"2024-12-05T09:51:42Z","timestamp":1733392302000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2647393\/2647394"}},"issued":{"date-parts":[[2024,12,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2647393","published":{"date-parts":[[2024,12,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202299},"posted":{"date-parts":[[2024,2,16]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is the online, open-access audio album of 'Score: Mechanical Asynchronicity' by Danica Maier and Martin Scheuregger. The album allows you to play full ensemble versions of the project's two pieces, and also mix your own versions of each piece by combining and balancing the individual instruments. It accompanies the publication of a related 40-page book on the project from Beam Editions.<\/jats:p>","DOI":"10.22501\/rc.2375737","type":"posted-content","created":{"date-parts":[[2024,2,16]],"date-time":"2024-02-16T14:37:10Z","timestamp":1708094230000},"source":"Crossref","is-referenced-by-count":0,"title":["Score: Mechanical Asynchronicity \u2013 audio album"],"prefix":"10.22501","author":[{"family":"Martin Scheuregger","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Danica Maier","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:46Z","timestamp":1727192506000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2375737\/2375736"}},"issued":{"date-parts":[[2024,2,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2375737","published":{"date-parts":[[2024,2,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:09Z","timestamp":1727194209880},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,7,4]]},"abstract":"How can Kod\u00e1ly music methodology contribute to the already existing Waldorf music education in giving the children ownership in music.<\/jats:p>","DOI":"10.22501\/koncon.779596","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:47Z","timestamp":1725921407000},"source":"Crossref","is-referenced-by-count":0,"title":["Waldorf music education meets Kod\u00e1ly methodology."],"prefix":"10.22501","author":[{"family":"Raoul Boesten","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:16Z","timestamp":1727193316000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/779596\/1903271"}},"issued":{"date-parts":[[2023,7,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.779596","published":{"date-parts":[[2023,7,4]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:25Z","timestamp":1727194225999},"posted":{"date-parts":[[2024,2,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The second workshop in Oslo called consisted of cross testing our different microphone technologies, sound recording field-trips in Oslo to investigate the ideas proposed in the November workshop, testing new loudspeaker technologies, and presenting a research seminar and concert titled \"Extending Time\".<\/jats:p>","DOI":"10.22501\/rc.2500085","type":"posted-content","created":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T18:54:40Z","timestamp":1708628080000},"source":"Crossref","is-referenced-by-count":0,"title":["Extending Time"],"prefix":"10.22501","author":[{"family":"Natasha Barrett","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:39Z","timestamp":1727192499000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2500085\/2500086"}},"issued":{"date-parts":[[2024,2,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2500085","published":{"date-parts":[[2024,2,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T00:31:12Z","timestamp":1759797072535,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T00:00:00Z","timestamp":1759708800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is part of the series The Sonic Atelier \u2013 Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, production, performance, and technology.\n\nThis interview features Icelandic composer and pianist Eyd\u00eds Evensen, whose work bridges classical tradition, improvisation, and post-classical minimalism. Her music draws on the landscapes of her homeland, translating memory, nature, and emotion into a cinematic and introspective sound world. In the conversation, Evensen reflects on the hybrid role of today\u2019s composer, the fluid boundaries between writing, producing, and performing, and the ways in which technology and collaboration shape her creative process.\n\nEvensen\u2019s insights reveal a practice rooted in both discipline and intuition, a music that moves between solitude and dialogue, the organic and the digital, embodying a poetic vision of creation where sound becomes a mirror of place, memory, and human resilience.<\/jats:p>\n keywords: Eyd\u00eds Evensen, Contemporary Composition, Post-classical music, Minimalism, Icelandic music, Hybrid composer, Composition and production, Film scoring, improvisation, piano, Valgeir Sigur\u00f0sson, ambient music, Technology and creativity, Nature and memory, Sound Design, neoclassical, Female composers, contemporary aesthetics, AI and authorship, The Sonic Atelier, creative process, music<\/jats:p>","DOI":"10.22501\/rc.3914997","type":"posted-content","created":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T10:03:58Z","timestamp":1759745038000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sonic Atelier #5 \u2013 A Conversation with Eyd\u00eds Evensen"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0008-6646-3987","authenticated-orcid":false,"family":"Francesca Guccione","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T10:03:58Z","timestamp":1759745038000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3914997\/3914996"}},"issued":{"date-parts":[[2025,10,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3914997","published":{"date-parts":[[2025,10,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T13:49:24Z","timestamp":1764769764175,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,1,24]],"date-time":"2019-01-24T00:00:00Z","timestamp":1548288000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2019,1,24]]},"abstract":"The goal of this exposition is to investigate the particular qualities of painting and mountain climbing. Do they have their own aesthetics, their own processes and patterns of movement, their own environmental structures and psychology \u2013 and do they share some of these characteristics? The texts and pictures in this exposition, four essays all together, deal with the potential of mountain climbing and painting to map out space, quietude, euphoria, fear, skill, autonomy, instrumentality and movement in an expanded field.<\/jats:p>\n keywords: videoart, mapping, Skill, deskilling, fall, space, movement, autonomy, instrumentally, abstract painting, mountain climbing, KMD_FineArt, KMD_Art<\/jats:p>","DOI":"10.22501\/vis.503150","type":"journal-article","created":{"date-parts":[[2019,12,14]],"date-time":"2019-12-14T12:08:24Z","timestamp":1576325304000},"source":"Crossref","is-referenced-by-count":0,"title":["Tracing gravity"],"prefix":"10.22501","author":[{"family":"Geir Harald Samuelsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T13:11:46Z","timestamp":1764767506000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/503150\/503151"}},"issued":{"date-parts":[[2019,1,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/vis.503150","published":{"date-parts":[[2019,1,24]]}},{"indexed":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T14:16:19Z","timestamp":1764771379475,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T00:00:00Z","timestamp":1764720000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2025,12,3]]},"abstract":"Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation\/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.<\/jats:p>\n keywords: deserts, landscape, place, time, dwelling, Observation, PHOTOGRAPHY, drawing, Watercolor, sound, VIDEO, KMD_FineArt, KMD_Art<\/jats:p>","DOI":"10.22501\/kmd-ar.470771","type":"journal-article","created":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T13:53:17Z","timestamp":1764769997000},"source":"Crossref","is-referenced-by-count":0,"title":["DESERT DWELLING"],"prefix":"10.22501","author":[{"family":"Christine Hansen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T13:53:17Z","timestamp":1764769997000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/470771\/471307"}},"issued":{"date-parts":[[2025,12,3]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.470771","published":{"date-parts":[[2025,12,3]]}},{"indexed":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T04:03:30Z","timestamp":1749787410059,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T00:00:00Z","timestamp":1749686400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,6,12]]},"abstract":"Wix\u00e1rika crafts are a testament to resilience and adaptability, they have been preserved since pre-Hispanic times. The evolution of some of these over the past century, influenced by global movements in the 1960s, has created a niche for Wix\u00e1rika art and craft. Influenced by tourism, new styles, colors, and symbols have been introduced, serving as a form of resistance against the erasure of traditional knowledge and practices 500 years after the colonial period. Tsik+ri has gained global popularity as a method to create decorative geometric yarn pieces, but this craft not only provides insights about Indigenous cultures, experiences, and embodied knowledge, but also raises discussion about land and cultural appropriation by non-Indigenous individuals. In this exposition, I present a series of workshops held in the region of the Arctic Circle, where a development project is taking place to improve and enhance the use of sustainable wool by revitalizing craft heritage in a multicultural way. The method of this study is Art-Based Action Research. The study makes visible an essential feature of this textile artifact: its ability to transcend geopolitical and cultural borders, embodying a unique fusion of heritage and contemporary design. Indigenous craft practices from the Mesoamerican Wix\u00e1rika culture, such as the Tsik+ri, are rooted in the multicultural identity of Mexico. The workshops served as platforms to communicate the culture and challenges of Wixaritari to Arctic and international contexts. This research sustains that implementing craft practices in the context of contemporary art requires profound knowledge and respect for its origins.<\/jats:p>\n keywords: indigenous knowledge, decolonization, sustainability, art based research, community learning, ritual textiles, wool crafts<\/jats:p>","DOI":"10.22501\/ruu.2410897","type":"journal-article","created":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T06:30:11Z","timestamp":1749709811000},"source":"Crossref","is-referenced-by-count":0,"title":["Weaving Wisdom: Community Learning Through Wool Crafts"],"prefix":"10.22501","author":[{"family":"Fabiola Hernandez Cervantes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T06:30:11Z","timestamp":1749709811000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2410897\/2410898"}},"issued":{"date-parts":[[2025,6,12]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2410897","published":{"date-parts":[[2025,6,12]]}},{"indexed":{"date-parts":[[2025,5,24]],"date-time":"2025-05-24T04:02:24Z","timestamp":1748059344492,"version":"3.41.0"},"posted":{"date-parts":[[2025,5,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,5,23]],"date-time":"2025-05-23T00:00:00Z","timestamp":1747958400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The project comprises text, location photos, photos of artworks, and video animations that record the experiences of a natural flood that affected house and studio. The project\u2019s content is a consideration of the consequences of the flood towards an existing project in progress at the time and on existing finished artwork. The finished exposition had two unsuccessful reviews; the first due to insufficiently proposing a workable consideration of failure, the second for insufficient clarity of purpose. As this self-published iteration, screenshots taken from the original iteration as formatted on the RC are overlaid with short summaries of aspects of the project\u2019s content, in terms pertaining to both the staining of the flood water and the often unacknowledged writing, re-writing, and over-writing of whatever is the language basis of one's practice. The screenshots, as simulated text-and-image cameos, have the summaries ranged next to them as legible text. The original submitted project is archived though accessible as a PDF only, along with its supplementary papers and video clips.<\/jats:p>\n keywords: Painting, drawing, language-based, theory and practice, Lacanian theory, subjectivity, Subject<\/jats:p>","DOI":"10.22501\/rc.3688697","type":"posted-content","created":{"date-parts":[[2025,5,23]],"date-time":"2025-05-23T07:21:52Z","timestamp":1747984912000},"source":"Crossref","is-referenced-by-count":0,"title":["Screenshot Cameos of \u2018After the Flood\u2019; a project archived"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,5,23]],"date-time":"2025-05-23T07:21:52Z","timestamp":1747984912000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3688697\/3688698"}},"issued":{"date-parts":[[2025,5,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3688697","published":{"date-parts":[[2025,5,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,6,25]],"date-time":"2025-06-25T13:40:02Z","timestamp":1750858802578,"version":"3.41.0"},"posted":{"date-parts":[[2025,6,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,25]],"date-time":"2025-06-25T00:00:00Z","timestamp":1750809600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201e\u00cd okkar Eden er lykt af p\u00edku og n\u00fdslegnu grasi, og hr\u00faga af h\u00e1lf\u00e9tnum eplum \u00ed horninu. \u00dea\u00f0 er eitthva\u00f0 skr\u00edti\u00f0 vi\u00f0 okkar Eden, eitthva\u00f0 \u00e1 sk\u00e1, eitthva\u00f0 \u00f3\u00fe\u00e6gilegt. Adam & Eva eru ekki a\u00f0 leika hlutverkin s\u00edn eins og \u00feau hafa alltaf gert.\u201c\nEmbla Gu\u00f0r\u00fanar \u00c1g\u00fastsd\u00f3ttir og N\u00edna Hj\u00e1lmarsd\u00f3ttir kafa ofan \u00ed sk\u00f6punars\u00f6guna og taka s\u00e9r pl\u00e1ss \u00ed sj\u00e1lfum aldingar\u00f0inum upprunalega. Eden er hinsegin f\u00f6tlunarparad\u00eds sem afmi\u00f0jar norm samf\u00e9lagsins og leyfir \u00e1horfendum a\u00f0 finna fyrir hinu er\u00f3t\u00edska innra me\u00f0 s\u00e9r.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3561642","type":"posted-content","created":{"date-parts":[[2025,6,25]],"date-time":"2025-06-25T12:59:25Z","timestamp":1750856365000},"source":"Crossref","is-referenced-by-count":0,"title":["Eden - a performance"],"prefix":"10.22501","author":[{"family":"N\u00edna Sigr\u00ed\u00f0ur Hj\u00e1lmarsd\u00f3ttir","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,6,25]],"date-time":"2025-06-25T12:59:25Z","timestamp":1750856365000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3561642\/3561643"}},"issued":{"date-parts":[[2025,6,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3561642","published":{"date-parts":[[2025,6,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,30]],"date-time":"2025-10-30T18:44:36Z","timestamp":1761849876542,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,30]],"date-time":"2025-10-30T00:00:00Z","timestamp":1761782400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This essay explores Nomadic Aesthetics as a post-disciplinary ethical philosophy grounded in movement, displacement, and moral geography. Through the lens of travelling installations, Dorian Vale interrogates how contemporary art carries not only material form but migratory conscience. Installations by artists such as Francis Al\u00ffs, Mona Hatoum, Chiharu Shiota, and Khalil Rabah are examined not as static works, but as mobile testimonies\u2014witnesses to border regimes, global inequality, and spiritual unbelonging. The essay argues that when art moves, it inherits moral weight: the crate becomes a coffin, the gallery a customs post, and the viewer a pilgrim. Nomadic aesthetics reframes mobility not as logistics, but as liturgy. It positions the travelling installation as a modern secular relic\u2014bearing not truth as monument, but truth as residue. This is a theology of movement: truth that survives only by circulation. Title: Nomadic Aesthetics \u2014 Travelling Installations as Moral GeographyKeywords:Post-Interpretive Criticism, Nomadic Aesthetics, Installation Art, Moral Geography, Migrant Artworks, Travelling Exhibitions, Globalization, Francis Al\u00ffs, Mona Hatoum, Ai Weiwei, Chiharu Shiota, Khalil Rabah, Ethics of Movement, Conscience in Contemporary Art, Aesthetic Displacement, Witnessing, Museum Critique, Portable Truth, Moral Cartography License:Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) Publication Year:2025 Movement \/ Framework:Post-Interpretive Criticism (The Museum of One) DOI (Placeholder until generated):[To be automatically assigned by Zenodo] Journal \/ Series:The Journal of Post-Interpretive Criticism (ISSN 2819-7232)Volume: IIIPublisher: Museum of One (Registered with Library and Archives Canada) Persistent Identifiers:ORCID: 0009-0004-7737-5094ISNI: 0000000537155247Wikidata: Q136308879 (Museum of One)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Adab for Art, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, The Journal of Post-Interpretive criticism, The Journal of Post-Interpretive criticism ISSN 2819-7232), The Journal of Post-Interpretive Criticism (Q136530009)<\/jats:p>","DOI":"10.22501\/rc.3961975","type":"posted-content","created":{"date-parts":[[2025,10,30]],"date-time":"2025-10-30T18:25:51Z","timestamp":1761848751000},"source":"Crossref","is-referenced-by-count":0,"title":["Nomadic Aesthetics \u2014 Travelling Installations as Moral Geography"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,30]],"date-time":"2025-10-30T18:25:51Z","timestamp":1761848751000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3961975\/3961974"}},"issued":{"date-parts":[[2025,10,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3961975","published":{"date-parts":[[2025,10,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:30Z","timestamp":1759335150047,"version":"build-2065373602"},"posted":{"date-parts":[[2024,8,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,8,26]],"date-time":"2024-08-26T00:00:00Z","timestamp":1724630400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Reproducing coercion consists of a book and a film: both pieces of work compliment each other and provide a detailed exploration of authoritarian group (commonly referred to as cults) coercive techniques. The films offer visual poetics that support the scientific work and portray the end results of the techniques explored - from the perspective(s) of cult members.\n\nThe film: \n\nJourneying into the intangible and often legitimate yet immoral tools of control, manipulation and precaritization used by high-pressure groups, the scientific work offers insight into common characteristics that help identify and analyze coercive groups, regardless of their ideology or area of operation. \n\nThe written part: \n\nThe written work on the other hand, delves into an exploration of capitalism (in its various forms and historical structures within western context), and the common characteristics class - based societies exhibit with coercive groups. More notably, the focus is on the reproduction of ideology and the functions of Ideological State Apparatuses in replicating class exploitation and aiding in its internalization.\n\nThe topics in this work, explored with an experimental approach, incorporating the author\u2019s personal experiences and recollections, while referencing films he\u2019s produced on the subject matter.\n\nThe structure: \n\nThe first part seeks to identify the characteristics of high-demand groups; it also delves into an overview of Althusser\u2019s theories on the reproduction of ideology.\n\nThe second part explores the parallels between various forms of capitalist ideology and high-demand groups, while focusing more on absolute thought, language and precaritization.\n\nThe third part journeys into labour, hierarchy, and compartmentalization of the workplace, exploring how systems are reproduced and how they endure through repetition.\n\nBy comparing cult coercion methods to the reproduction of capitalism, the thesis seeks to offer a unique perspective on how ideology is reproduced, irrespective of the doctrine.<\/jats:p>\n keywords: Cults, coercion, ideology, capitalism, precarity, FILM, Written word<\/jats:p>","DOI":"10.22501\/rc.2981465","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T11:38:19Z","timestamp":1725536299000},"source":"Crossref","is-referenced-by-count":0,"title":["Reproducing Coercion - An exploration on the reproduction of ideology in cults and capitalism"],"prefix":"10.22501","author":[{"family":"Yilmaz Vurucu","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:28Z","timestamp":1759302628000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2981465\/2981464"}},"issued":{"date-parts":[[2024,8,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2981465","published":{"date-parts":[[2024,8,26]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:53Z","timestamp":1759335173441,"version":"build-2065373602"},"posted":{"date-parts":[[2025,2,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,23]],"date-time":"2025-02-23T00:00:00Z","timestamp":1740268800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Denne leira og beholderen representerer bl\u00e5leire som en del av et industrilandskap i prosjektet.<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, clay, blueclay, artistic resaerch, teglindustri, enebakk leireuttak, bl\u00e5leire og brunleire fra enebakk leireuttak, leca fabrikken, LECA, ravinelandskap, brunleire, ekstraktiv industri<\/jats:p>","DOI":"10.22501\/rc.2945926","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:09:15Z","timestamp":1740722955000},"source":"Crossref","is-referenced-by-count":0,"title":["Bl\u00e5leire og brunleire fra Enebakk leireuttak"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:26Z","timestamp":1759302626000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2945926\/2945789"}},"issued":{"date-parts":[[2025,2,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2945926","published":{"date-parts":[[2025,2,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,2]],"date-time":"2025-10-02T05:42:46Z","timestamp":1759383766205,"version":"3.38.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"26","license":[{"start":{"date-parts":[[2025,3,5]],"date-time":"2025-03-05T00:00:00Z","timestamp":1741132800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,3,5]]},"abstract":"This paper introduces the method of intuition as it is presented by French philosopher Henri Bergson in the book An Introduction to Metaphysics (Bergson 1912). Its usefulness as a tool to observe relevant information in artistic practice in sound is further discussed in relation to a series of works by the author. Exploring this complex field the author makes a preliminary conclusion that sound is not a thing, and it is not limited to what we listen to. It is a system of interrelated threads, the meaning of which is much larger than the actual sound itself.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/jss.3025541","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:24:46Z","timestamp":1733149486000},"source":"Crossref","is-referenced-by-count":1,"title":["Sound Intuition"],"prefix":"10.22501","author":[{"family":"Henrik Frisk","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2025,3,5]],"date-time":"2025-03-05T09:44:40Z","timestamp":1741167880000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3025541\/3025542"}},"issued":{"date-parts":[[2025,3,5]]},"references-count":0,"journal-issue":{"issue":"26"},"URL":"https:\/\/doi.org\/10.22501\/jss.3025541","published":{"date-parts":[[2025,3,5]]}},{"indexed":{"date-parts":[[2025,10,23]],"date-time":"2025-10-23T14:07:46Z","timestamp":1761228466722,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0084","type":"journal-article","created":{"date-parts":[[2025,10,23]],"date-time":"2025-10-23T13:53:42Z","timestamp":1761227622000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Falk H\u00fcbner, \"Method, Methodology and Research Design in Artistic Research\""],"prefix":"10.22501","author":[{"given":"Jen","family":"Clarke","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2025,10,23]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,10,23]],"date-time":"2025-10-23T13:53:42Z","timestamp":1761227622000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-falk-hubner-method-methodology-and-research-design-artistic-research"}},"issued":{"date-parts":[[2025,10,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0084","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2025,10,23]]}},{"indexed":{"date-parts":[[2026,4,12]],"date-time":"2026-04-12T20:41:19Z","timestamp":1776026479836,"version":"3.50.1"},"posted":{"date-parts":[[2026,4,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,12]],"date-time":"2026-04-12T00:00:00Z","timestamp":1775952000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Jacques Lacan's analysis of Freud's witticism evolved from a linguistic perspective in the 1950s to a discourse-based approach in the late 1960s, heavily influenced by Marxist theory. Lacan originally viewed the Witz as a way into the unconscious requiring a \"third person\" for authentication, but later introduced the \"laughter of the capitalist\" to illustrate the extraction of surplus enjoyment. By comparing Marxist surplus value to \"surplus enjoyment\" (plus-de-jouir), Lacan identified a loss of bodily enjoyment caused by the signifier. Through Freudian examples like \"famillionaire,\" he distinguished between metaphorical condensation and metonymic sliding, ultimately positioning wit as the matrix for analytic interpretation to expose the fundamental nonsense of the symbolic order.<\/jats:p>\n keywords: Wit, Discourse, Jouissance\/Enjoyment<\/jats:p>","DOI":"10.22501\/rc.4342445","type":"posted-content","created":{"date-parts":[[2026,4,12]],"date-time":"2026-04-12T19:58:01Z","timestamp":1776023881000},"source":"Crossref","is-referenced-by-count":0,"title":["Wit and the Surplus Enjoyment"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,4,12]],"date-time":"2026-04-12T19:58:01Z","timestamp":1776023881000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4342445\/4342444"}},"issued":{"date-parts":[[2026,4,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4342445","published":{"date-parts":[[2026,4,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,1,8]],"date-time":"2026-01-08T05:47:42Z","timestamp":1767851262295,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,7]],"date-time":"2026-01-07T00:00:00Z","timestamp":1767744000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"What questions emerge when children and adults engage in artistic research together, exploring sound, identity, and creativity as co-researchers? In this AR pilot project, a fourth-grade class at a Viennese elementary school, Campus Landstra\u00dfe, together with three adult researchers, collaboratively shape an open-ended inquiry into the sonic.This exploratory phase should lay the groundwork for a larger artistic research project. It focuses on how children and adults collaboratively shape the direction of inquiry: What questions related to sound matter to us? How do we, together, engage with sound as material, metaphor, and method? And how do the modes of questioning transform our understanding of what artistic research can become?Guided by principles of Participatory Action Research and entangled sound-making, this pilot creates an open, flexible space, the Sonic Beings Laboratory, where research practices are not delivered or taught, but discovered in collaboration. It is a space where children and adults co-develop questions, sub-projects, and methods through relational and creative engagement.As adult researchers and artists, we were not external observers but co-learners\u2014creating alongside the children, responding to their sonic ideas, and reflecting on our own evolving practices. Our field notes, sketches, and interventions were not supplementary; they were integral to the research process, allowing us to trace how the project challenged our assumptions and shifted our ways of listening and making.This pilot is not about finding answers. It is about staying with the questions that emerge through our shared inquiry, attending to how our research practice unfolds, and how all participants are changed through the process.<\/jats:p>\n keywords: embodiment of knowledge, WEIRD, intercultural education, sonic being, ontology, k-pop, movement, video games<\/jats:p>","DOI":"10.22501\/rc.3289308","type":"posted-content","created":{"date-parts":[[2026,1,7]],"date-time":"2026-01-07T13:34:08Z","timestamp":1767792848000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sonic Beings Laboratory: children as artistic researchers weaving meanings of sound"],"prefix":"10.22501","author":[{"family":"Jelizaveta Vovka","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Wei-Ya Lin","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"ORCID":"https:\/\/orcid.org\/0009-0002-9309-1433","authenticated-orcid":false,"family":"Ragnhei\u00f0ur Erla Bj\u00f6rnsd\u00f3ttir","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,7]],"date-time":"2026-01-07T13:34:08Z","timestamp":1767792848000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3289308\/3289309"}},"issued":{"date-parts":[[2026,1,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3289308","published":{"date-parts":[[2026,1,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,18]],"date-time":"2026-03-18T02:35:28Z","timestamp":1773801328528,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,18]],"date-time":"2026-03-18T00:00:00Z","timestamp":1773792000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Short essay by Riekje Marie ParuschkeCindy Sherman\u2019s photographic work and Gender Trouble: Feminism and the Subversion of Identity by Judith Butler offer a critical framework for examining how gender is constructed, performed, and reproduced through visual culture and design. While Sherman exposes the mechanisms of representation through shifting personas, Butler theorizes gender as a repeated social practice rather than a fixed identity. Together, their work reveals how design participates in shaping and stabilizing gender norms, while also opening possibilities for more fluid and inclusive forms of expression.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4285712","type":"posted-content","created":{"date-parts":[[2026,3,17]],"date-time":"2026-03-17T23:05:17Z","timestamp":1773788717000},"source":"Crossref","is-referenced-by-count":0,"title":["Challenging the Hetero- Patriarchal Gaze in Design Through Judith Butler\u2019s Gender Trouble and Cindy Sherman\u2019s Art"],"prefix":"10.22501","author":[{"family":"Riekje Paruschke","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,17]],"date-time":"2026-03-17T23:05:17Z","timestamp":1773788717000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4285712\/4285713"}},"issued":{"date-parts":[[2026,3,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4285712","published":{"date-parts":[[2026,3,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T07:47:46Z","timestamp":1774424866207,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I stand on the Jichuk Station platform. The sun comes, not a train. Sweat gathers. Sad, soon.Because one (I can\u2019t write \u2018person\u2019 here) was pushed to their death, screen doors were installed afterwards. Because another, checking whether screen doors closed in time, was trapped between them and died.I go, sensing what has passed. Perception acts as memory. It is heavy to carry.The weight poses its question here: Why this living, that begins every day before I choose it? And for what?Jesus. Logos.It reaches no further\u2014going around seeking the shadows, to let light fall there. For the darkness visible to this species is its own invention. Such a division of realms is not natural.Breathing with what remains behind inscription, I live this:Try freezing a cry solid. Break into pieces. Hold in the mouth. Chew.If it tastes right, eat on until the cry stops.The stomach, unknown, testing how far we can swell,a universe always larger than whatever we eat.No burst, likely.The cry cube crunches,pricking in the ear.In a club.Catch the beat.<\/jats:p>\n keywords: Nervous systems, Perception, Association, Archive<\/jats:p>","DOI":"10.22501\/rc.4102830","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T06:01:56Z","timestamp":1774418516000},"source":"Crossref","is-referenced-by-count":0,"title":["PHYSIS"],"prefix":"10.22501","author":[{"family":"An Dui","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T06:01:56Z","timestamp":1774418516000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4102830\/4102831"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4102830","published":{"date-parts":[[2026,3,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T08:06:30Z","timestamp":1780041990052,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/uis","type":"journal","created":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T09:06:01Z","timestamp":1734339961000},"source":"Crossref","is-referenced-by-count":0,"title":["University of Stavanger"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T07:53:08Z","timestamp":1780041188000},"score":0.0,"resource":{"primary":{"URL":"http:\/\/student.uis.no\/english\/university_library\/subject_pages\/humanities\/"}},"short-title":["uis"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/uis"},{"institution":[{"name":"Universitetet i Bergen","acronym":["UiB"],"place":["Bergen"],"department":["KMD"]}],"indexed":{"date-parts":[[2022,3,29]],"date-time":"2022-03-29T05:01:39Z","timestamp":1648530099118},"reference-count":0,"publisher":"Universitetet i Bergen KMD","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/kmd-ar.1157329","type":"report","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:18:49Z","timestamp":1623053929000},"source":"Crossref","is-referenced-by-count":0,"title":["Crisis Collective relic site"],"prefix":"10.22501","member":"9794","published-online":{"date-parts":[[2021,3,1]]},"deposited":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:18:50Z","timestamp":1623053930000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1157329\/1157330"}},"issued":{"date-parts":[[2021,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1157329","published":{"date-parts":[[2021,3,1]]}},{"indexed":{"date-parts":[[2024,4,9]],"date-time":"2024-04-09T00:29:42Z","timestamp":1712622582599},"posted":{"date-parts":[[2024,4,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.2231964","type":"posted-content","created":{"date-parts":[[2024,4,8]],"date-time":"2024-04-08T07:49:05Z","timestamp":1712562545000},"source":"Crossref","is-referenced-by-count":0,"title":["No Info"],"prefix":"10.22501","author":[{"family":"Paul Reiter","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,4,8]],"date-time":"2024-04-08T07:49:06Z","timestamp":1712562546000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2231964\/2231965"}},"issued":{"date-parts":[[2024,4,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2231964","published":{"date-parts":[[2024,4,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:16Z","timestamp":1733202796053,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2024,3,11]]},"abstract":"In this article, Heikki Wilenius reexamines an initially disregarded field recording from a family meeting in East Java, Indonesia, to understand the interplay between loudness and authority. The focal point of the analysis is the presence of a massive sound system in the gathering and its impact on social interactions. Wilenius explores the oratorical practices within the context of the event and examines the different ways speakers attempt to speak in an authoritative manner. Additionally, he investigates the semiotics of noise, considering it not as a mere lack of structure but as a moment of interruption that can produce insights upon closer analysis.\n\nWilenius argues that the loudness of oratory events in Java implies power but can also risk being perceived as empty rhetoric. He suggests that authority in Java has a semiotic ideology where refined, ignorable sounds can coexist with harsh, compelling ones. The article concludes that the materiality of the recording itself serves as an ethnographic object that resists assimilation into a cultural context, offering insights into the dynamics of authority at play. By embracing the \"deficiencies\" of the recording, Wilenius uncovers new dimensions of the ethnographic experience, proposing a methodology of repeated listening to reveal structures within seemingly arbitrary sounds.<\/jats:p>","DOI":"10.22501\/jss.1657037","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:24Z","timestamp":1733149524000},"source":"Crossref","is-referenced-by-count":0,"title":["Authoring Noise, Noising Authority: Loudness and Oratory in an East Javanese Family Gathering"],"prefix":"10.22501","author":[{"family":"Heikki Wilenius","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:24Z","timestamp":1733149524000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1657037\/1657038"}},"issued":{"date-parts":[[2024,3,11]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jss.1657037","published":{"date-parts":[[2024,3,11]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:18Z","timestamp":1733202798138,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,28]]},"abstract":"If writing about music is like dancing about architecture, theorizing about sound must be like running about interior design. It would be useless, a hopeless endeavor that would not lead to any insight into the phenomenon under analysis. Nevertheless, stubborn as we are, we are convinced that it is possible, and even necessary, to attempt to articulate, through language as well as through other means, sound and sonic encounters in all their diversities.<\/jats:p>","DOI":"10.22501\/jss.484836","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:14Z","timestamp":1733149574000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial: Aiming for an Impossibility?"],"prefix":"10.22501","author":[{"family":"Vincent Meelberg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:14Z","timestamp":1733149574000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/484836\/484837"}},"issued":{"date-parts":[[2018,6,28]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.484836","published":{"date-parts":[[2018,6,28]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:20Z","timestamp":1733202800753,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,10]]},"abstract":"The project is about the process of auditory memories related to initial impressions.\nIt is also an experiment of how we are experiencing different soundscapes of different cultures.\n\nWhich words can describe sounds, which we are not used to?\nCan we listen to the past? Which memories are still in mind?\n\nCollecting different material (recordings, diary, photos) allowed me to create a multimedia homepage.<\/jats:p>","DOI":"10.22501\/jss.264268","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:01Z","timestamp":1733149621000},"source":"Crossref","is-referenced-by-count":0,"title":["SOUNDMEMORIES OF ASIA"],"prefix":"10.22501","author":[{"family":"Max Haberl","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:01Z","timestamp":1733149621000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/264268\/264269"}},"issued":{"date-parts":[[2016,7,10]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.264268","published":{"date-parts":[[2016,7,10]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:03Z","timestamp":1733202783939,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,12,14]]},"abstract":"Imagine for a moment that we engage with early-music manuscripts only through inspection of the musical text, without any attempt to perform it. Imagine again that musicians who perform early music made no attempt to engage with the historical context and performance practice of the past. It is mind-boggling to consider what we would miss if we did not make these attempts through performative artistic research. Can we engage with auditory culture over time by using methods from early-music performance practice to create soundscape? Will the process and product of creating a historically informed soundscape provoke new conversations and generate a new type of knowledge to engage both scholars of auditory culture and audiences?\u00a0We want to complement scholarly narratives that seek to better understand the sounds of the past beyond music itself by borrowing methods and models from early-music performance and adapting them to create historically informed soundscape.<\/jats:p>","DOI":"10.22501\/jss.408710","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:19Z","timestamp":1733149639000},"source":"Crossref","is-referenced-by-count":0,"title":["Historically Informed Soundscape: Mediating Past and Present"],"prefix":"10.22501","author":[{"family":"D. Linda Pearse","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:19Z","timestamp":1733149639000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/408710\/408711"}},"issued":{"date-parts":[[2017,12,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jss.408710","published":{"date-parts":[[2017,12,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:00Z","timestamp":1727238660215},"posted":{"date-parts":[[2024,9,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The work presents selected parts of a women's academy in the form of a short film, which was originally performed once at the Viennese court in 1697. The video is the result of an interpretative approach based on the acting techniques of the period when this academy was created. The music harmonises with the movement, which, in turn, follows the affect of the text. The filmed scene was rehearsed by students, graduates and teachers of the Department of Early Music at the University of Music and Arts of the City of Vienna (MUK) as part of the course \u201cPeriod Acting Techniques\u201c under the direction of Margit Legler. This work contributes to the visualisation and imaginability of this historical event, where five authors and singers presented speeches, poems and music they had composed themselves on a specific research question. In addition to the score of the selected parts, this publication includes a historical report on the creation of the academy, summarising the findings of a dissertation on music history dedicated to this event (Pumh\u00f6sl 2014). It concludes with a personal reflection on how the performance of today's interpreters changes when they employ period acting techniques in speeches, recitatives and arias.<\/jats:p>","DOI":"10.22501\/rc.2990152","type":"posted-content","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T20:41:41Z","timestamp":1725914501000},"source":"Crossref","is-referenced-by-count":0,"title":["\"Accademia di Dame, Vienna 1697\" by Susanne Abed-Navandi and Margit Legler"],"prefix":"10.22501","author":[{"family":"Susanne Abed-Navandi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:40:42Z","timestamp":1727192442000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2990152\/2990153"}},"issued":{"date-parts":[[2024,9,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2990152","published":{"date-parts":[[2024,9,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:04Z","timestamp":1727238664547},"posted":{"date-parts":[[2023,10,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"My second exposition<\/jats:p>","DOI":"10.22501\/rc.2346286","type":"posted-content","created":{"date-parts":[[2023,10,20]],"date-time":"2023-10-20T11:04:15Z","timestamp":1697799855000},"source":"Crossref","is-referenced-by-count":0,"title":["My second exposition"],"prefix":"10.22501","author":[{"family":"Vincent Meelberg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:12Z","timestamp":1727192532000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2346286\/2346287"}},"issued":{"date-parts":[[2023,10,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2346286","published":{"date-parts":[[2023,10,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667610},"posted":{"date-parts":[[2021,6,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Methods of Exchange \u2013 Digital Residency \nPerth \u2013 Seoul \n2021\n\nOver a few months in early 2021, Emma Fishwick & Serena Chalker (AU) worked in parallel to Gong-Won (KR) through Seoul Dance Centre (SDC) and their Digital Residency program. \nDeveloping creative relationships during these uncertain times, this digital canvas captures process as product and is part of a broader program of international engagement through dialogue, documentation and artistic sharing. This website attempts to capture our artist-led peer-to-peer mentorship, cultural & skills exchange, facilitated by this virtual residency.\n\nThings that we have talked about: labour, process as the artwork, language across form and geographies, mapping of place and self, virtual Vs physical, place Vs placelessness and asking \u2018what is a digital residency\u2019? We have been finding connection between the seemingly disconnected threads in our works and in turn our worlds. We landed on ways of expressing space and time that is not linear or hierarchical through layering of memory, ideas, form and so on. \n\nThe work is doing the work of figuring out what the work is. The labour of being an artist is made visible: always questioning, reformulating, reworking.\n\nAll content on this page is created by Serena Chalker, Emma Fishwick, Gong-Won \u2013 2021. \nSerena Chalker (www.serenachalker.com) | Gong-Won (https:\/\/www.hellosuyoung.com) | Emma Fishwick (www.emmafishwick.com)<\/jats:p>","DOI":"10.22501\/rc.1260165","type":"posted-content","created":{"date-parts":[[2021,9,29]],"date-time":"2021-09-29T01:07:14Z","timestamp":1632877634000},"source":"Crossref","is-referenced-by-count":0,"title":["Methods of Exchange \u2013 Digital Residency"],"prefix":"10.22501","author":[{"family":"Emma J Fishwick","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:38Z","timestamp":1727192738000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1260165\/1260166"}},"issued":{"date-parts":[[2021,6,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1260165","published":{"date-parts":[[2021,6,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:05Z","timestamp":1727238665329},"posted":{"date-parts":[[2021,6,30]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Niccolo Pagani was born in Genoa, October 27, 1782, and died May 27, 1840.\nHe was an Italian composer considered one of the archetypes of violin virtuosity and one of the greatest representatives of the instrumental movement of Romanticism. He contributed with his contributions to the development of the \"modern violin technique\".\nThe 24 caprices for violin are one of his best known works and have served as inspiration for numerous composers.\nIn addition to the violin, he composed music for mandolin, guitar, viola and bassoon. His duets for violin and guitar and his compositions for string quartet stand out.\nIn this work a brief synthesis is made of the valuable contribution of the Italian school of violin in the pre-Paganini period, integrated by outstanding composers and performers. It highlights the Italian influence in the development of the art of violin playing. Paganini's biography describes his great abilities that led him to be considered as the amazing, original, unique and unrepeatable violinist in the history of music. The exceptional qualities of this musician are attributed to a genetic factor, associated to his intrinsic ability and training. A description is made of the peculiar somatic characteristics that Paganini possessed based on medical descriptions and those of some contemporary musicians. It has been hypothesized by several authors that the musician suffered from a hereditary connective tissue disorder and two possibilities have been proposed: that of a Marfan syndrome or that of an Ehlers-Landos syndrome. A summary of the clinical and biochemical criteria characterizing these conditions is presented.\nWhat seems to be well founded is that he suffered from a \"joint hypermobility syndrome\", the true nature of which is conjectural, even if the hypothesis of a subtype III, hypermobile Ehlers- Danlos syndrome, may be favored. This condition affected him throughout his life, but contributed to make him the unrepeatable violinist he is remembered as in the history of music.<\/jats:p>","DOI":"10.22501\/rc.1304079","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T13:14:56Z","timestamp":1684761296000},"source":"Crossref","is-referenced-by-count":0,"title":["Niccolo Paganini: Life, illnes and virtuosity"],"prefix":"10.22501","author":[{"family":"Carol Frias Perez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:36Z","timestamp":1727192736000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1304079\/1304078"}},"issued":{"date-parts":[[2021,6,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1304079","published":{"date-parts":[[2021,6,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670850},"posted":{"date-parts":[[2018,1,29]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Writing from the position of being a PhD student at the Academy of Fine Arts in Prague, I address the subject of competences in artistic education in my dissertation. My aim is to give insight into the experiences of graduates of the Academy of Fine Arts in Prague, and to evaluate the impact of this education on their lives.<\/jats:p>","DOI":"10.22501\/rc.424994","type":"posted-content","created":{"date-parts":[[2018,1,29]],"date-time":"2018-01-29T17:19:25Z","timestamp":1517246365000},"source":"Crossref","is-referenced-by-count":0,"title":["GRAVITY OF ARTISTIC COMPETENCE"],"prefix":"10.22501","author":[{"family":"Isabela Grosseova","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:26Z","timestamp":1727192966000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/424994\/424995"}},"issued":{"date-parts":[[2018,1,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.424994","published":{"date-parts":[[2018,1,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670466},"posted":{"date-parts":[[2019,1,24]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"MA SODA 401 Workbook<\/jats:p>","DOI":"10.22501\/rc.549423","type":"posted-content","created":{"date-parts":[[2019,1,24]],"date-time":"2019-01-24T16:42:59Z","timestamp":1548348179000},"source":"Crossref","is-referenced-by-count":0,"title":["Graduation Piece"],"prefix":"10.22501","author":[{"family":"Mariana Nobre Vieira","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:14Z","timestamp":1727192954000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/549423\/549424"}},"issued":{"date-parts":[[2019,1,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.549423","published":{"date-parts":[[2019,1,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671839},"posted":{"date-parts":[[2013,9,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A proposal for art to avoid categorisation<\/jats:p>","DOI":"10.22501\/rc.45043","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:23Z","timestamp":1498067723000},"source":"Crossref","is-referenced-by-count":0,"title":["PRIMALISM"],"prefix":"10.22501","author":[{"family":"Christopher Hollins","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:36Z","timestamp":1727193036000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/45043\/45044"}},"issued":{"date-parts":[[2013,9,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.45043","published":{"date-parts":[[2013,9,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:22Z","timestamp":1727238682443},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,6,26]]},"abstract":"Thomas Ballhausen's (author and philosopher) and Elena Peytchinska's (Institute of Fine Arts & Media Art \u2013 Stage and Film Design) contribution \"Herbarium of Words: Literary Style at the Scale of a Street\" artistically explores the interrelations of space, language, and literature and takes us on a walk through Vienna\u2019s streets. The herbarium serves as a point of departure for historical observations, which is seen as a form of subjective and personal archiving of urban experiences by means of linguization. Their performative approach combines film stills, poetry, and theoretical backgrounds to transform the boundaries of text and bibliographic formats.<\/jats:p>","DOI":"10.22501\/repos.2481713","type":"journal-article","created":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T09:12:56Z","timestamp":1719393176000},"source":"Crossref","is-referenced-by-count":0,"title":["Herbarium of Words: Literary Style at the Scale of a Street"],"prefix":"10.22501","author":[{"family":"Thomas Ballhausen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Elena Peytchinska","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:59Z","timestamp":1727193899000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2481713\/2481714"}},"issued":{"date-parts":[[2024,6,26]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/repos.2481713","published":{"date-parts":[[2024,6,26]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:23:37Z","timestamp":1725927817077},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,7,4]]},"DOI":"10.22501\/koncon.2387217","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:32:32Z","timestamp":1725874352000},"source":"Crossref","is-referenced-by-count":0,"title":["Harp literature of Slovenian composers in the 20th century: interpretative challenges and possibilities and parallels with European literature in three Concertos"],"prefix":"10.22501","author":[{"family":"Jernej Mi\u0161i\u010d","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:32:33Z","timestamp":1725874353000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2387217\/2588142"}},"issued":{"date-parts":[[2024,7,4]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2387217","published":{"date-parts":[[2024,7,4]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:28Z","timestamp":1727238688868},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2022,3,14]]},"abstract":"On 30 July 1984, 11 mercury miners locked down in the mines of Almad\u00e9n (Ciudad Real, southern Spain) to protest against their precarious economic and social conditions. 650 metres deep inside the oldest and most productive mercury mines in world history, the miners endured the dark and contaminated galleries for 11 days and nights until their claims were addressed. As an emigrated local filmmaker, I come back to post-industrial Almad\u00e9n in 2019 to make a documentary film about the mining strike. The premise is to find young locals willing to live inside the now-closed mines for 11 whole days in homage to the older miners and to recreate the experience of 1984, 35 years later. Apart from engaging our collective mining past, performing the form and duration of a previous workers strike, Encierro proposes the underground as a living and symbolic space to foster a series of conversations, encounters, and social and political propositions to reimagine Almad\u00e9n, which rose from a mine shaft more than 2000 years ago, as \u2018something else besides\u2019 a mining town.\n\nThis exposition explores the potential of documentary film fieldwork to take on a different relationship to normal life that the same or similar events would have as \u2018untransformed reality\u2019 \u2013 a strike versus the reenactment of a strike \u2013 and its potential for activism and social transformation. I will also explore the use of the conditional tense in documentary; a speculative and hypothetical approach to reality sensitive to the \u2018potentially\u2019 real, the \u2018possible\u2019, and the \u2018what if\u2019 as modes of documentation. What happens when the forms of \u2018documentary\u2019 and \u2018reenactment\u2019 are exceeded, and act upon the world rather than only represent it?<\/jats:p>","DOI":"10.22501\/vis.1504797","type":"journal-article","created":{"date-parts":[[2022,3,14]],"date-time":"2022-03-14T12:04:31Z","timestamp":1647259471000},"source":"Crossref","is-referenced-by-count":0,"title":["We Would Strike!: Beyond Representation in a Post-Industrial Town."],"prefix":"10.22501","author":[{"family":"Arturo Delgado Pereira","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:49Z","timestamp":1727194129000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1504797\/1504798"}},"issued":{"date-parts":[[2022,3,14]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/vis.1504797","published":{"date-parts":[[2022,3,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:53Z","timestamp":1727238713898},"posted":{"date-parts":[[2024,6,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is a documentation and dissection of the work Pleased to Meet You, a performative encounter with the more-than-human. The work has been presented in two editions, at Lokal\/RDF, Reykjav\u00edk, Iceland, November 2022, and at IAC, Malm\u00f6,Sweden, March 2023. \n\nThe exposition examines the relations specific elements of the work and connects it to the artistic PhD research \"How Little is Enough?\" Sustainable Methods of Performance for Transformative Encounters in Malm\u00f6 Theatre Academy at Lund University.<\/jats:p>","DOI":"10.22501\/rc.2162264","type":"posted-content","created":{"date-parts":[[2024,6,1]],"date-time":"2024-06-01T13:40:45Z","timestamp":1717249245000},"source":"Crossref","is-referenced-by-count":0,"title":["Pleased to Meet you"],"prefix":"10.22501","author":[{"family":"Steinunn Kn\u00fats \u00d6nnud\u00f3ttir","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:10Z","timestamp":1727192470000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2162264\/2162265"}},"issued":{"date-parts":[[2024,6,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2162264","published":{"date-parts":[[2024,6,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:37Z","timestamp":1727238637732},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,8,29]]},"abstract":"'Et in Arcadia ego'-music performance is an auditory garden deriving its inspiration from 17th-century European meditation gardens. It was premiered at the Helsinki Music Centre in autumn 2016 and performed again in summer 2017 as a part of the Venice Research Pavilion of the University of the Arts Helsinki.The performance was initiated as my KeKe-project 2014 (Sibelius Academy\u2019s former Development Centre, KeKe) and the research question was, how to develop classical music\u2019s performance practices by subtly varying its performative parameters. By pre-recording organic sound material related to wooden instruments like organ pipes, psalteries and harpsichords, including also concrete sounds of wood, cones, stalks and sticks, these sounds were projected into the concert venue and heard among the music repertory and alive improvisations. Moreover, I wanted to pose a question, whether a concert venue could be understood as a compound of resonating elements and shapes. Is it possible to animate the concert venue by studying its auditory features more carefully? The 'Et in Arcadia ego'-performance develops performativity of classical music by subtly varying and extending its performative techniques. This artistic research is articulated in line with phenomenologists such as Don Ihde and Maurice Merleau-Ponty and philosopher Gaston Bachelard.<\/jats:p>","DOI":"10.22501\/ruu.420481","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T15:49:10Z","timestamp":1538236150000},"source":"Crossref","is-referenced-by-count":0,"title":["The aural garden of sounding materials: performing within the materiality of Et in Arcadia ego-music performance"],"prefix":"10.22501","author":[{"family":"Assi Karttunen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:33Z","timestamp":1727193753000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/420481\/420482"}},"issued":{"date-parts":[[2018,8,29]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/ruu.420481","published":{"date-parts":[[2018,8,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:46Z","timestamp":1727238646110},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,14]]},"abstract":"A Printing Press of One\u2019s Own (En egen trykkpresse) is a practical examination of the relationship between art and technique, hand and spirit, thought and printing ink. The project came out of an interest in the printed medium in a digital age. Book printing has been the dominant technology for setting and mass reproducing of the printed word from when Gutenberg popularized the technique in the 1450s, and until well into the 20th century. Thon Knutsen set out to search for a professional position which allowed her to combine an artistic approach to typography and graphic form with her technical insight and historical knowledge of book printing. She found Virginia Woolf. The canonised modernist author and the feminist icon worked in parallel with both her writing as artistic practice and as typesetter and printer in her own private printing press. Through in-depth close reading of Woolf's authorship, seen through the first-hand experience as typesetter and printer, Thon Knutsen has found new ways to read Woolf, and a direction for her own artistic and research-based practice. Thon Knutsen has recreated the short story that Woolf printed in her debut, The Mark on the Wall, in its whole, but with a new aesthetic appearance. She has done this with a method that Thon Knutsen claims must have been used by Woolf; the thought and the writing must have been influenced by the experience of setting and printing as a pendulum between the spirit that writes and the hand that sets.<\/jats:p>","DOI":"10.22501\/vis.598364","type":"journal-article","created":{"date-parts":[[2020,10,14]],"date-time":"2020-10-14T11:05:43Z","timestamp":1602673543000},"source":"Crossref","is-referenced-by-count":0,"title":["En egen trykkpresse"],"prefix":"10.22501","author":[{"family":"Ane Thon Knutsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:58Z","timestamp":1727194138000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/598364\/602024"}},"issued":{"date-parts":[[2020,10,14]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/vis.598364","published":{"date-parts":[[2020,10,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:47Z","timestamp":1727238647463},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2023,3,14]]},"abstract":"How can microsocial rituals connected to a specific site be used as interaction templates for artistic purposes? And how can we distort such rituals artistically in order to make them memorable events? As artists, we regard distortion as the process that gives character and distinction to things and situations, as well as something that confuses and enriches information and interpretation. Through examples emerging from the operatic production Chronos\u2019 Bank of Memories (2019\u20132022), set in empty shop stores with interacting visitors, we have recalled and fleshed out issues of rituality with distorted proportions. Due to the covid-19 pandemic, its production was interrupted and later on revived, which affected the work. This exposition covers aspects of both our artistic practice in general and this particular opera\u2019s tendency to encompass distorted rituals. Commentary texts, images, and audio\/video clips are arranged into an introduction and then three thematic strands in order to offer a reasoned overview of our work process.<\/jats:p>","DOI":"10.22501\/vis.1642435","type":"journal-article","created":{"date-parts":[[2023,3,14]],"date-time":"2023-03-14T11:38:40Z","timestamp":1678793920000},"source":"Crossref","is-referenced-by-count":0,"title":["Unfinished Business"],"prefix":"10.22501","author":[{"family":"Hedvig Jalhed","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Mattias Rylander","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:44Z","timestamp":1727194124000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1642435\/1848793"}},"issued":{"date-parts":[[2023,3,14]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/vis.1642435","published":{"date-parts":[[2023,3,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:00Z","timestamp":1727238720175},"posted":{"date-parts":[[2023,9,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Two video clips from \"re-enactment 2\" at Jonsered Herrg\u00e5rd, September 6, 2021<\/jats:p>","DOI":"10.22501\/rc.2288387","type":"posted-content","created":{"date-parts":[[2023,9,28]],"date-time":"2023-09-28T18:32:31Z","timestamp":1695925951000},"source":"Crossref","is-referenced-by-count":0,"title":["Music videos: Becoming Beethoven"],"prefix":"10.22501","author":[{"family":"Tilman Skowroneck","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:24Z","timestamp":1727192544000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2288387\/2288386"}},"issued":{"date-parts":[[2023,9,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2288387","published":{"date-parts":[[2023,9,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:06Z","timestamp":1727238726074},"posted":{"date-parts":[[2018,4,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Visual an written essay exploring the conceptual scope of \"La Prospettiva is sucking reality\", a series of paintings, song and video I made in 2010.\nIt\u2019s by following the idea that art is a construction of starting points, stimuli to mind, I reflect on my own work as an artist, or where my artistic work plays a central role on my seek for the understanding of the mechanisms of art and mind. Here exploring the conceptual possibilities raised by evoking \"La Prospettiva\", understanding the aesthetical experience as the place where image and reality become the same.<\/jats:p>","DOI":"10.22501\/rc.134095","type":"posted-content","created":{"date-parts":[[2018,4,28]],"date-time":"2018-04-28T10:23:07Z","timestamp":1524910987000},"source":"Crossref","is-referenced-by-count":0,"title":["La Prospettiva is sucking reality"],"prefix":"10.22501","author":[{"family":"Antonio Olaio","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:24Z","timestamp":1727192964000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/134095\/134096"}},"issued":{"date-parts":[[2018,4,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.134095","published":{"date-parts":[[2018,4,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:08Z","timestamp":1727238728518},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,12,30]]},"abstract":"The COVID pandemic has prompted many people to reconsider their previous living and working rhythms and to consider alternatives. We believe that the global enslavement to the standardised time of clocks and calendars has had a negative impact on us individually, socially, and environmentally. We aim, therefore, to change perceptions of time by helping people step outside societal time, treating time instead as a malleable material that can be stretched and moulded.\n\nThis exposition describes our process, outcomes, and analysis in staging an event using an alternative approach based on natural and material time processes specifically related to the body and the external day\/night cycle driven by light colour and intensity. In a twenty-four-hour event in London designed around chronobiological phases, we investigated our research question of how to change perceptions of time by treating it as a malleable material.\n\nWe discovered that treating time as a malleable material necessitates first stepping outside of the clock-time system: in our case, using daylight and bodily chronobiological phases as alternative time-givers. Dialogues using linguistic and non-linguistic means between ourselves, our collaborators and participants, as well as with our tools and materials, resulted in treating time as place, and places and things in temporal terms. We discovered that time is not only stretchable but can take different shapes and qualities, with multiple times existing alongside each other, by 'programming' actions and activities through performance, rhythm, and materiality.\n\nOur research focuses on the broader issue of the \u2018time crisis\u2019 as identified by sociologists, chronobiologists, and philosophers, as a result of acceleration processes driven by digital technologies and contemporary 24\/7 societal norms. We address this by bringing together Helga's research on \u2018uchronia\u2019 (temporal utopia or non-time) and Kevin's anthropological perspective on designing embodied experiences.<\/jats:p>","DOI":"10.22501\/jar.827680","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T11:41:06Z","timestamp":1640864466000},"source":"Crossref","is-referenced-by-count":0,"title":["The Atemporal Event"],"prefix":"10.22501","author":[{"family":"Helga Schmid","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Kevin Walker","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:51Z","timestamp":1727193111000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/827680\/827681"}},"issued":{"date-parts":[[2021,12,30]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jar.827680","published":{"date-parts":[[2021,12,30]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:10Z","timestamp":1727238730833},"reference-count":0,"publisher":"Society for Artistic Research","issue":"32","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,7,15]]},"abstract":"Through a form of critical autoethnography, this study diffracts aspects of the author\u2019s artistic practice through the intimate process of mourning to delineate a particular mode of knowledge production within artistic research that queers the relationship between the inside and outside of epistemic and ontological perspectives. The first section considers the abyss as a figure between grief, the unknown, and modes of knowledge production within artistic research. The second section bridges the work of theorising as a form of reconfiguring the world through the study of diffracted light, and further delineates the practice of vibrant contemplation as a method of entangling art practice with theorisation processes beyond a dichotomous opposition between art and science. The final section contemplates the figure of the afterglow as a material-discursive phenomenon that emerges from the temporality of mourning vis-\u00e0-vis artistic research.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n\n<a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&file=2936354\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.1744157","type":"journal-article","created":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T10:27:37Z","timestamp":1721039257000},"source":"Crossref","is-referenced-by-count":0,"title":["From the abyss to the afterglow: On the practice of vibrant contemplation as a mode of artistic research"],"prefix":"10.22501","author":[{"family":"Luiz Zanotello","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:10Z","timestamp":1727193070000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1744157\/2509165"}},"issued":{"date-parts":[[2024,7,15]]},"references-count":0,"journal-issue":{"issue":"32"},"URL":"https:\/\/doi.org\/10.22501\/jar.1744157","published":{"date-parts":[[2024,7,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:17Z","timestamp":1727238737109},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,15]]},"abstract":"Can Eastern cultures become a more integral part of the classical guitar\u2019s cultural identity through repertoire influenced by these cultures?\n\nIn this research exposition, I explore the ways in which cultural elements from Eastern cultures may inspire repertoire for the solo classical guitar. Through this repertoire, I shall examine how such cultural influences may promote Eastern cultures to performers and audiences of the classical guitar. In doing so, the cultural horizons of the classical guitar world may be broadened to represent a greater variety of cultures that also mirrors the growing global community of the classical guitar. \n\nIn Part I, I look at some of the pre-existing works that have been influenced by Eastern cultures including works by Toru Takemitsu; arrangements of popular and folkloric music from Eastern cultures; and original compositions that have influences from Eastern cultures. Part II deals with the ethics of cultural inspiration and looks at questions like: \u201cHow can we represent cultures authentically through music?\u201d, \u201cIs cultural appropriation ok?\u201d. Finally, Part III presents an overview of the new repertoire specifically written for this research. This comprises of two arrangements of songs attributed to the Bengali polymath, Rabindranath Tagore, as well as a commissioned work with an Eastern cultural influence composed by Italian composer and classical guitarist, Marco Ramelli. \n\nThe findings of this research reveal the difficulty of assigning an objective answer to the issues surrounding cultural inspiration. I implore readers to approach this research with an open mind and hope that, at the very least, I can encourage the musical community to consider different types of questions concerning the use of cultural elements in art.<\/jats:p>","DOI":"10.22501\/koncon.1713579","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:31Z","timestamp":1725921451000},"source":"Crossref","is-referenced-by-count":0,"title":["An Investigation of Eastern Cultural Influences in the Classical Guitar Solo Repertoire."],"prefix":"10.22501","author":[{"family":"Samrat Majumder","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:38Z","timestamp":1727193338000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1713579\/1799631"}},"issued":{"date-parts":[[2023,5,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1713579","published":{"date-parts":[[2023,5,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:17Z","timestamp":1727238737966},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,5,10]]},"abstract":"Sean Bell\nStudent number: 3230643\nMaster Early Music Voice\nResearch supervisor: Dr. In\u00eas de Avena Braga\nTitle: No Joy in the Brilliance of Sunshine\nResearch question: How can I create a stage performance combining and connecting my two sound worlds\/style identities as a performer?\n\nSummary of the results of the research:\nIn this research I have explored the creative development of a stage performance, combining operatic music by Handel with contemporary performance art. Through this I have explored how I can combine my duality as a performer: the early music singer and the contemporary performer and creator. This project and its connected research are a part of my artistic development as a musician, creator and performer, and the urge to explore this music and questions grew out of previous projects and ideas.\nI have created and developed my project through following a consequential progression of artistic choices, and through this space that has unfolded I have come to find an essential identity of myself as a performer and creator. By being honest towards myself through the critical reflection, I have been able to investigate my process, my preferences, inspirations and my distinct personal style. Through this I have been able to strengthen my artistic identity and the artistic tools I use, bringing forth a more complete performer.\n\nShort biography:\nSean Bell is a countertenor and performance artist from Oslo. His studies centre mainly on chamber and sacred music and opera, yet also includes a focus on new ideas and methods of interpreting classical and contemporary repertoire. Through sonic imaginations and arrangements, he explores this repertoire in new ways. This has led him to a series of collaborations and solo performances on the border line between classical music and performance art. Bell also works with contemporary music and has premiered several pieces for countertenor. He is an active improviser, plays baroque guitar and engages in instrument building and music electronics.<\/jats:p>","DOI":"10.22501\/koncon.1409514","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:39:12Z","timestamp":1725921552000},"source":"Crossref","is-referenced-by-count":0,"title":["No Joy in the Brilliance of Sunshine"],"prefix":"10.22501","author":[{"family":"Sean Bell","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:18Z","timestamp":1727193378000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1409514\/1409515"}},"issued":{"date-parts":[[2022,5,10]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1409514","published":{"date-parts":[[2022,5,10]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738044},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,5,29]]},"abstract":"Name: Georgios Kachrimanis\nMain Subject: Classical Trombone\nResearch Coach: Paul Scheepers\nTitle of Research: The Joy of Practice: A case study of Keren by Iannis Xenakis\nResearch Question:\nHow can I bring the joy back into my daily practice?\nSummary of Results:\nEvery musician perceives \u201chard work\u201d differently in their career or education. For me it was something like weight lifting training with the motto \u201cNo Pain, No Gain\u201d. This was my idea about practicing music for more than 15 years. Besides the hard work I was also dealing with anxiety and the outcome was that I was not progressing in my practice and performance. I noticed that I was not enjoying myself anymore as I did as a young boy, but that I was \u2018working\u2019 the trombone instead of \u2018playing\u2019. When I was accepted for the masters program of the conservatoire I knew I had to change something about my way of practicing. So I came up with my main question for my master research \u201cHow can I bring the joy back into my daily practice?\u201d In my research paper I am exploring the flow theory of Csikszentmihalyi and the use of awareness from book of The Inner Game of Music. According to the Csikszentmihalyi flow can help musicians to experience more joy and achieve better work satisfaction. In order to explore this theory and the use of awareness I used a case study, Keren by Iannis Xenakis. Because joy\nand anxiety also got a lot to do with how you plan your practice and recovery I also made a practice plan. For this I used the information and planning techniques I got from Erja Joukamo-Ampuja, one of the speakers at the conference \u2018From Potential to Performance\u2019 in 2013. Putting all the information I gained during my research together, I came up with six conditions that I needed for my daily practice to be flow-like so I could gain some joy out of it: having a clear mind, a goal\/outcome, good skill\/challenge match, frequent feedback, physical\/mental energy, relaxed concentration. During my presentation I will explain the concepts of flow, anxiety and joy in my daily practice and my case study.\nBiography:\nThe Trombone came into Georgios\u2019 life at the age of 15, although he had started playing music at the age of ten in his local fanfare band. Shortly thereafter he started\nplaying in the Athens Student orchestra. The first time he played music\nprofessionally was at the age of 17, with the Radio Symphony Orchestra of Greece.\nIn 2002 he won his current position as principal trombone of the Athens Philharmonia and in 2003 finished his studies with a 10 and first prize. During the next 10 years Georgios won other auditions and played with all the major and minor orchestras in Greece, appearing as a soloist on a number of occasions.<\/jats:p>","DOI":"10.22501\/koncon.61893","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:48:37Z","timestamp":1725922117000},"source":"Crossref","is-referenced-by-count":0,"title":["The Joy of Practice. A Case study of Keren by I.Xenakis - The pursuit of happiness in our practice room"],"prefix":"10.22501","author":[{"family":"Georgios Kachrimanis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:24Z","timestamp":1727193504000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/61893\/61894"}},"issued":{"date-parts":[[2015,5,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.61893","published":{"date-parts":[[2015,5,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738555},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2023,11,9]]},"abstract":"City of Panic is an urban intervention, which has been realized by The Anartist (Gian Luigi Biagini and John Dunn). It happened in 2019 in the central train-station square of Helsinki. The installation-performance is a \"caged mini-golf\", which catches and elicits many disruptive resonances. The intervention challenges, contests and makes visible the \"iron cage of rationality\" that organizes the capitalist urban space through an ordoliberal trans-institutional consensus that does not leave space for the expression of Difference. The intervention puts in \"play-ce\" a critical and mystic playground of Difference in Itself that breaks the cage of assimilation to a functional hierarchical identity. The article describes this complex experience of rupture and cata-comic rapture by a phenomenology of the process in becoming. A phenomenology and an ethnography of difference, with theory references \"in flight\", that cannot be completely grasped by a homogenous and unified signifier, narrative, representation. Even the style of the graphic tries to evoke this \"virtual heterogeneity of intertwined planes and becomings\" that are sutured and re-composed by creative writing.<\/jats:p>","DOI":"10.22501\/ruu.1165712","type":"journal-article","created":{"date-parts":[[2023,11,9]],"date-time":"2023-11-09T13:03:16Z","timestamp":1699534996000},"source":"Crossref","is-referenced-by-count":0,"title":["CRITICAL PLAYGROUND AS PLAY-CE UTOPIA. (MANIFESTO FOR A DIFFERENCE IN ITSELF.)"],"prefix":"10.22501","author":[{"family":"Anartist","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:01Z","timestamp":1727193541000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1165712\/1165713"}},"issued":{"date-parts":[[2023,11,9]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1165712","published":{"date-parts":[[2023,11,9]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:21Z","timestamp":1727238741490},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,6,14]]},"abstract":"Through stories recounting experiences of disorientation and the process of reorientation, potentials are found for rethinking our relation to built surroundings. Engaging with art historical examples of architectural art installations that use methods repetition and replication, disorientation is approached as a catalyst for a process of \u2018immanent critique\u2019. This presents a way to critically engage with and inflect what is happening in the moment while remaining within the immediacy of that moment. This holds the potential for a participant in the event to inflect the event with one\u2019s own implicated agency. The unfolding event is redirected, and novelty can emerge. \n\nThe artworks of Mike Nelson, Gregor Schneider and Glenn Seator are discussed as sharing methods of artistic practice that catalyse immanent critique through their disorienting installations. Through a discussion of a selection of art installations, this paper proposes how employing methods of architectural repetition or doppelg\u00e4ngers can result in a catalytic disorientation. It is within this experience or event of disorientation that an immanent critique can take place, and where potentials for change can be taken up.<\/jats:p>","DOI":"10.22501\/ruu.423399","type":"journal-article","created":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T09:48:50Z","timestamp":1560505730000},"source":"Crossref","is-referenced-by-count":0,"title":["The event of disorientation: artistic methods of immanent critique"],"prefix":"10.22501","author":[{"family":"Scott Andrew Elliott","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:53Z","timestamp":1727193713000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/423399\/558445"}},"issued":{"date-parts":[[2019,6,14]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/ruu.423399","published":{"date-parts":[[2019,6,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:21Z","timestamp":1727238741517},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,8]]},"abstract":"This text-based exposition looks at epistemic affordances embedded in the insect condition. Drawing from the scientific study of insects, my project INSECTS AMONG US sets out to fathom insects\u2019 ephemeral existence through art works. A rich media presentation of the project is available in the RC: https:\/\/www.researchcatalogue.net\/view\/474888\/514952. \nINSECTS AMONG US was exhibited at the Helsinki Uniarts Research Pavilion 2019 on Giudecca Island in Venice. The Pavilion housed a series of small-scale site-specific installations that visually and acoustically mediated the eerie life worlds of insects to human ears and eyes.<\/jats:p>","DOI":"10.22501\/ruu.693683","type":"journal-article","created":{"date-parts":[[2020,6,8]],"date-time":"2020-06-08T03:30:04Z","timestamp":1591587004000},"source":"Crossref","is-referenced-by-count":0,"title":["EPISTEMIC BUGS AT WORLDMAKING"],"prefix":"10.22501","author":[{"family":"Tuula N\u00e4rhinen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:00:49Z","timestamp":1727193649000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/693683\/693684"}},"issued":{"date-parts":[[2020,6,8]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.693683","published":{"date-parts":[[2020,6,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:26Z","timestamp":1727238746362},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,6,22]]},"abstract":"PhD project: Stitches and Sutures, Supervisor: Barbara Putz-Plecko\n\nEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>","DOI":"10.22501\/envelo.2105060","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T22:19:01Z","timestamp":1714083541000},"source":"Crossref","is-referenced-by-count":0,"title":["Stitches and Sutures: In Re\/Search of Images"],"prefix":"10.22501","author":[{"family":"Barbara Graf","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:48Z","timestamp":1727193948000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2105060\/2105041"}},"issued":{"date-parts":[[2023,6,22]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2105060","published":{"date-parts":[[2023,6,22]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:27Z","timestamp":1727238747929},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2022,11,17]]},"abstract":"This exposition focuses on my 35-year-long project to visualise every word in the Concise Oxford English Dictionary in alphabetical order, A to Z. Begun in 2011, the point of departure here is a particular moment in the unfolding of the project: the recent completion of the final D-word, \u201cdystopia\u201d. A to Z is premised upon the carrying out of a defined conceptual rule: a \u201ctactically absurd\u201d commitment to a lifetime of artistic effort, whose ostensible folly gives rise to an ever-expanding body of work that appears arbitrary, unwarranted, and nonsensical, but which, through its playful insistence, might also be understood as operating in a new and alternative realm of sense.<\/jats:p>","DOI":"10.22501\/vis.1633591","type":"journal-article","created":{"date-parts":[[2022,11,17]],"date-time":"2022-11-17T21:48:34Z","timestamp":1668721714000},"source":"Crossref","is-referenced-by-count":0,"title":["A to Z: Visualising Every Word in the Dictionary in Alphabetical Order"],"prefix":"10.22501","author":[{"family":"Dave Ball","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:47Z","timestamp":1727194127000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1633591\/1633592"}},"issued":{"date-parts":[[2022,11,17]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/vis.1633591","published":{"date-parts":[[2022,11,17]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:20Z","timestamp":1727238620160},"posted":{"date-parts":[[2023,12,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Systematization of the experiences lived in a space for reflection and dialogue between teachers, researchers and students from various artistic and design fields around the theme \u201cartistic research through playing\u201d.\n\nThe games implemented in this forum are the culmination of an extensive design and planning process summarized in a second exposition in this catalog titled DESIGN OF GAMES AS \u2018HANDS ON RESEARCH TOOLS\u2019 FOR FORUM No.2 NODOS ACTIVOS: 2023\u2019 (\nhttps:\/\/www.researchcatalogue.net\/view\/1920338\/1920339)\n\nThis exhibition recounts the experience of playing those games during the month of October 2023, in the facilities of the Center for Artistic Research, Teaching and Extension (CIDEA) and their surroundings, where the four schools of arts and design of the University come together: School of Art and Visual Communication (EACV), Performing Arts (EAE), Dance School and Music School. \n\nAside from the researchers in charge of the Nodos Activos project, the creative team in charge of the development, design and \u2018put to practice\u2019 work implicit in all these research tools\/games included EACV students Karolay Mendoza Castrillo, Marian Casanova Guzm\u00e1n, Iv\u00e1n Sibaja Segura, and Nicole Barboza Alvarez; and EAE student Adrian Campos Chaves.<\/jats:p>","DOI":"10.22501\/rc.2431060","type":"posted-content","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T16:41:15Z","timestamp":1703176875000},"source":"Crossref","is-referenced-by-count":0,"title":["FORO NO.2 NODOS ACTIVOS (2023): Artistic Research Through Playing (2023)"],"prefix":"10.22501","author":[{"family":"Yamil Hasbun Chavarr\u00eda","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Pamela Jim\u00e9nez Jim\u00e9nez","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:56Z","timestamp":1727192516000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2431060\/2431061"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2431060","published":{"date-parts":[[2023,12,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:22Z","timestamp":1727238622335},"posted":{"date-parts":[[2021,1,10]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research PhD project challenges classical music performance culture through a series of experimental collaborative projects. My particular interest lies in how this culture shapes the psychological experience of performance from the perspective of the individual musician. The project\u2019s aims can be further defined through the following research questions: a) How can I better understand the psychological impact that the traditions and ceremonies of classical music have on my performance? b) Departing from my own practice, what other factors affect me emotionally during performance? c) How can experimentation with the traditions of performance culture in classical music provide different modes of emotional regulation in staged performance?\nThis thesis is a compilation of projects and publications in which I explore classical music performance through my individual experience as a soloist. Selected concert performances of classical works, experimentation with performance settings, and the creation of two commissioned works, play central roles.\nThe method and design builds on the qualitative study of several case studies of my practice as a concert pianist in collaboration with other musicians, choreographers and composers. The methodological approach entails combinations of autoethnographic methods, stimulated recall and thematic analysis. The theoretical framework is twofold, and rests on psychological and psychoanalytical perspectives as well as on a socio-historically driven analysis of the music-theoretical concept of Werktreue.\nSome artistic results are available online in The Research Catalogue and others are published on the CD Notes from Endenich (Daphne Records). The combined outcomes of the project suggest, that musicians can benefit from an increased awareness of factors that affect the western classical music performer. While this thesis is specifically directed towards other musicians, it is also my hope that the findings can be valuable also in other research fields. Without the active contribution from musicians and artists into the investigation of how they function as performers, and of the values that accompany them on-stage, it is difficult to understand which needs should be addressed scientifically. For music researchers, there are many opportunities to dig into the different aspects of performance, but it is vital to let musicians show the way by collaborating within the field of Artistic Research, and thereby, together with musicians, find new ways to transform their experience of performing.<\/jats:p>","DOI":"10.22501\/rc.883843","type":"posted-content","created":{"date-parts":[[2021,2,19]],"date-time":"2021-02-19T14:32:04Z","timestamp":1613745124000},"source":"Crossref","is-referenced-by-count":0,"title":["Transforming performance- an inquiry into the emotional processes of a classical pianist"],"prefix":"10.22501","author":[{"family":"Francisca Skoogh","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:10Z","timestamp":1727192830000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/883843\/883844"}},"issued":{"date-parts":[[2021,1,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.883843","published":{"date-parts":[[2021,1,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:24Z","timestamp":1727238624761},"posted":{"date-parts":[[2015,3,31]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"COLLISION exhibition Enzo Giordano - Gilda Mautone \n\nThe project COLLISION brings together artworks by artists Gilda Mautone and Enzo Giordano.Based in Berlin, Mautone and Giordano have been working together for 5 years and consider their works as a whole.The artists explore psychological situations starting from their personal experiences as well as observing and responding to external circumstances. The impact between the intimate and public spheres translates in a conflict evoked by the title of the exhibition.Their practices, although different, share similarities in themes and approaches.Collision aims to activate a reflection on the psychological dynamics involved in the artist\u2019s works, asking for the participation of the public.\nCOLLISION was exposed at the Italian Embassy of Copenhagen in March and consecutively in September in Milan at Officina Temporanea.Will also be presented at the Italian Embassy of Prague in November.\n\n\nFrom: Wednesday 22 April 2015 at 18:00h\nTo: Sunday 5 May 2015 at 18:00h\n\n\nLocation:\nItalian Culture Institute, Italian Embassy , Hiroshimastra\u00dfe, 1 Berlin 10785<\/jats:p>","DOI":"10.22501\/rc.143853","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:54:16Z","timestamp":1498067656000},"source":"Crossref","is-referenced-by-count":0,"title":["Collision"],"prefix":"10.22501","author":[{"family":"gilda mautone","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:03Z","timestamp":1727193003000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/143853\/143854"}},"issued":{"date-parts":[[2015,3,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.143853","published":{"date-parts":[[2015,3,31]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:25Z","timestamp":1727238625902},"posted":{"date-parts":[[2016,3,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The page has moved to: https:\/\/www.researchcatalogue.net\/view\/142075\/142076<\/jats:p>","DOI":"10.22501\/rc.141154","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:26Z","timestamp":1498067606000},"source":"Crossref","is-referenced-by-count":0,"title":["Documentation for the dissertation"],"prefix":"10.22501","author":[{"family":"Tero Nauha","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:47Z","timestamp":1727192987000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/141154\/141155"}},"issued":{"date-parts":[[2016,3,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.141154","published":{"date-parts":[[2016,3,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671851},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"Government-regulated business closures, social distancing from people, and stay-at-home orders emptied the urban environment of the presence of people. This effectively created new sonic relationships between natural and urbanised sounds within our built society. As Covid-19 instilled a state of abandonment from our urban spaces with each variation of lockdowns, there was an opportunity to document these changes through a sonic-journalistic approach. The research is developed through artistic practice-based creative projects that capture the transitional events of Lockdown 1 and Lockdown 2 between March and October 2020 in Belfast, Northern Ireland. Fifteen locations and forty-one audio-photographic files were captured during this period, focusing on perceptions and observations of Covid-19 and the sonic effect on urban spaces. This collection of material acts as a documentation of place through sensory information and has been distributed onto online platforms such as soundmaps (soundwalk apps or browser maps), which allow for revising our understanding and reflecting on changes instilled by the pandemic. The creative projects provide a timeframe of how each lockdown changed our relationship with urban spaces during a global pandemic due to the regulations and distancing from others to combat the virus. This exposition discusses the immediate planning and procedures for capturing material during the events of Covid-19, with a review of certain soundscape compositions based on the sonic relationships of urban spaces.<\/jats:p>","DOI":"10.22501\/jar.1712696","type":"journal-article","created":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T09:37:08Z","timestamp":1687772228000},"source":"Crossref","is-referenced-by-count":0,"title":["Documenting Sounds in Urban Places: Belfast During Covid-19 Lockdowns 1 and 2"],"prefix":"10.22501","author":[{"family":"Georgios Varoutsos","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:28Z","timestamp":1727193088000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1712696\/1712697"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jar.1712696","published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:15Z","timestamp":1727238675610},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2014,9,22]]},"abstract":"The 'sonozones' project investigates sound art practices in public places through personal and public acts of listening and sounding. The topic is explored using artistic processes developed on site in M\u00fclheim in the Ruhr region of central Germany. Four sound art practitioners collaboratively explore ideas and concepts that question the significance and impact of listening and sounding in public places and suburban and urban spaces. The project collects traces and artefacts of the artistic processes as a basis for investigations into key elements of the individual and social dimensions of sound art. The exploration of forms sets the stage for experiments, interventions, and performative presences carried out on site by the artists. A continuous dialogue and the collection of verbal reflections frames these activities. In addition to texts, this exposition lays out a collection of audio recordings, photographs, and videos in order to document and convey sensory experiences as well as thoughts.<\/jats:p>","DOI":"10.22501\/jar.48986","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T18:25:00Z","timestamp":1492453500000},"source":"Crossref","is-referenced-by-count":0,"title":["sonozones"],"prefix":"10.22501","author":[{"family":"Jan Schacher","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Cathy van Eck","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Trond Lossius","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Kirsten Reese","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:46Z","timestamp":1727193226000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/48986\/65823"}},"issued":{"date-parts":[[2014,9,22]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/jar.48986","published":{"date-parts":[[2014,9,22]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:17Z","timestamp":1727238677247},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,12]]},"abstract":"Thomas Jefferson\u2019s Monticello plantation is here used as a case-study examiningclassical music\u2019s foundations in the United States. Among other titles, Jefferson was a statesman, diplomat, slave master, and avid violinist. He is remembered as the principal author of the Declaration of Independence and third U.S. President. Early documentation suggests he was a gifted musician, reading notation at age nine and practicing \u201cno less than three hours a day\u201d for \u201ca dozen years\u201d. Music played an important role in the courtship of his wife, Martha Skelton Wayles, a harpsichordist and singer. They parented six children, of which two daughters survived to adulthood. Both received substantial keyboard training and their eldest inherited her father\u2019s \u201ctaste and talent for music\u201d. Upon their mother's death in 1782, Thomas began a complicated relationship with his late wife\u2019s enslaved half sister, Sally Hemings. She became pregnant at sixteen and bore six of Jefferson\u2019s children, four of which survived to adulthood. While Jefferson\u2019s white daughters learned keyboard, two of his enslaved black sons were taught violin. It is likely that Jefferson himself taught them using the treatises of his expansive musical library, notably Geminani\u2019s \u201cArt of Playing the Violin\u201d. A year after Jefferson\u2019s death, the two sons were given their freedom; the youngest\u2019s profession is listed as \u201cmusician\u201d in the 1850 census; he is remembered as an \u201caccomplished caller of dances\u201d. These sons span the full stylistic gamut available in 19th century American music: from fiddle to violin. Thomas Jefferson and his family represent the kernels of America\u2019s musical traditions, and the way they have morphed in parallel with America itself. The musical ecosystem of Monticello plantation is a dynamic location to discuss colonial music\u2019s intersections with class, race, gender, and national identity.<\/jats:p>","DOI":"10.22501\/rc.1551508","type":"journal-article","created":{"date-parts":[[2022,2,22]],"date-time":"2022-02-22T01:03:50Z","timestamp":1645491830000},"source":"Crossref","is-referenced-by-count":0,"title":["Musical Monticello: Classical Music and America"],"prefix":"10.22501","author":[{"family":"Jasper Snow","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:56Z","timestamp":1727193356000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1551508\/1551509"}},"issued":{"date-parts":[[2022,7,12]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/rc.1551508","published":{"date-parts":[[2022,7,12]]}},{"indexed":{"date-parts":[[2025,1,23]],"date-time":"2025-01-23T05:22:11Z","timestamp":1737609731771,"version":"3.33.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2020,11,2]]},"abstract":"\"Action versus Reaction - Artistic encounters with an aesthetic otherness\", was a research project undertaken at the Rhythmic Music Conservatory in Copenhagen in 2015-2016. The primary artistic output of the project is the album \u201dResonance\u201d, released on Sundance Music in September 2016.\nMy ensemble Resonance (previously known as \u201d Strings, Percussion & Piano\u201d) consists of 3 string players as well as Peter Bruun on drums and myself on piano. The string players all have a background in European classical music and (composed) new music, whereas Peter and I originally came out of improvised music, jazz and its neighbouring regions. In this ensemble, we have been dealing with artistic encounters between our different aesthetics backgrounds for several years. I have realized that my primary curiosity orbits around the questions: \n1)\tHow can all members of a cross-genre ensemble stay true to their own musical intuition, developed through decades of full immersion?\n2)\tHow can these confident artists then transcend their notion of themselves and meet anew in an aesthetic field different from their respective origins?\n\nIn 2018, Jacob Anderskov was nominated for the Nordic Council Music Price for the album Resonance.<\/jats:p>","DOI":"10.22501\/rmc.481737","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:43:04Z","timestamp":1737542584000},"source":"Crossref","is-referenced-by-count":0,"title":["Action vs. Reaction"],"prefix":"10.22501","author":[{"family":"Jacob Anderskov","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:43:04Z","timestamp":1737542584000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/481737\/481738"}},"issued":{"date-parts":[[2020,11,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/rmc.481737","published":{"date-parts":[[2020,11,2]]}},{"indexed":{"date-parts":[[2025,1,23]],"date-time":"2025-01-23T05:22:30Z","timestamp":1737609750947,"version":"3.33.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2020,7,3]]},"abstract":"PROJECT DESCRIPTION: \n\u201cThe project examines post tonal material structuring principles in improvised music.\u2028 It deals with (searches for) unexploited opportunities or new forms of expressions within improvised music through studies of possible ways to organize the musical material - and with relevant practical and creative ways to find room for them in improvised music.\u201d \n\nOriginal RESEARCH QUESTION: \nThrough my own artistic practice, I will examine \n\n- \u00a0To which extent it is possible for me to use definable post tonal structuring principles in my improvisations, and\n\n\u2028- \u00a0Which of these principles can best be used in my improvisational universe. \u2028<\/jats:p>","DOI":"10.22501\/rmc.397815","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:43:07Z","timestamp":1737542587000},"source":"Crossref","is-referenced-by-count":0,"title":["Habitable Exomusics"],"prefix":"10.22501","author":[{"family":"Jacob Anderskov","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:43:07Z","timestamp":1737542587000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/397815\/397816"}},"issued":{"date-parts":[[2020,7,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/rmc.397815","published":{"date-parts":[[2020,7,3]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:03Z","timestamp":1727194203502},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,5]]},"abstract":"Research question: How can the embodiment of gestures help me to increase my performance focus with the aim of eradicating meaningless gestures during singing, and is it possible to create a step-by-step study plan that incorporates my findings?\n\nAbstract: The goal of this research was to find a solution to my problem that my gestures don\u2019t always contribute to the lyric\u2019s meaning when I\u2019m singing. I was looking for a way to eradicate meaningless gestures. I carried out my research by examining the history of singing, scientific papers and articles regarding the connection between speech and gesture, and writings by experts in the field of acting, singing and body movement like Fajo Jansen, a body-movement teacher who helped help me analyse some of my old video recordings. I also used a questionnaire and created a study plan incorporating these findings, and recorded myself multiple times under the guidance of Fajo in order to test their efficacy. I discovered that a disruption in my performance-focus during singing was causing my gesticulation problems. By creating a deeper physical connection with a text\u2019s meaning, I sought to re-establish and strengthen this focus, which I tested with my study plan for the embodiment of gestures. My work with Fajo showed that, next to this approach, another layer should be added: namely, the body should feel grounded and experience a feeling of flow in order to create free gestures which contribute to a text\u2019s meaning. With Fajo, I concluded that by not only working on the embodiment of gestures but on the whole body as well, my gesticulation problem can be remedied more effectively.<\/jats:p>","DOI":"10.22501\/koncon.544323","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:41:10Z","timestamp":1725921670000},"source":"Crossref","is-referenced-by-count":0,"title":["Gestures and their role in restoring a singer\u2019s performance-focus"],"prefix":"10.22501","author":[{"family":"Aim\u00e9e Hautvast","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:53Z","timestamp":1727193413000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/544323\/544324"}},"issued":{"date-parts":[[2020,6,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.544323","published":{"date-parts":[[2020,6,5]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:07Z","timestamp":1727194207939},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,4,2]]},"abstract":"This thesis is the outcome of the research component of our Masters\u2019 study Aus Licht - Sound projection.\n\nThe aim of this research was to document the available information that would come to the fore while working with a group of experienced Stockhausen collaborators, each of them a specialist in sound reinforcement and sound system engineering. \n\nThis information is captured in three case studies that contextualise a set of keywords that were collected and defined during the 20 months of preparations and rehearsals (September 2017 to May 2019 in Licht aan Zee Studio in The Hague), as well as the concert period (May 2019 to June 2019 in De Gashouder in Amsterdam). \n\nOne case study was written collaboratively and two case studies were written individually by each of the sound projectionists involved in this research project. Each case study details one work or part of the whole program. The thesis is concluded by reflective statements by each of the collaborators.<\/jats:p>","DOI":"10.22501\/koncon.657462","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:42:05Z","timestamp":1725921725000},"source":"Crossref","is-referenced-by-count":0,"title":["Document the Sound Projection of Aus Licht"],"prefix":"10.22501","author":[{"family":"Marko Uzunovski","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Arne Bock","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:07Z","timestamp":1727193427000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/657462\/657463"}},"issued":{"date-parts":[[2020,4,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.657462","published":{"date-parts":[[2020,4,2]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:09Z","timestamp":1727194209872},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"Taking the audience on a journey is always an important goal of mine while performing. My research was created not only to add to my knowledge but more importantly to my performance and my connection to the audience. Throughout my research I uncover the enigma of Bach as an inspiration for Hindemith. What connects these two composers living 200 years apart? How do we connect the \u2018new and modern\u2019 to the \u2018old and familiar\u2019? Is Hindemith in fact 'Bach with a modern twist'? By discovering the similarities and differences between Bach\u2019s 6th Cello Suite and Hindemith\u2019s Solo Sonata Op.25 No.1, through background research and putting their structure and harmony in relation to each other, a new world of interpreting both composers opened up to me. The research makes my performance more involved but also allows me to take the listener by the hand, guiding them through this more \u2018modern\u2019 music by Hindemith and his contemporaries such as Max Reger, by accompanying his music with Bach, and accompanying the music with short metaphorical stories highlighting the composers' similarities as well as different approaches. Engaging the audience, allowing them to open their ears and view the music in a new light.<\/jats:p>","DOI":"10.22501\/koncon.1785090","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:51Z","timestamp":1725921411000},"source":"Crossref","is-referenced-by-count":0,"title":["Hindemith\u2019s Musical Enigmas Through the Eyes of Bach"],"prefix":"10.22501","author":[{"family":"Kaat Schraepen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:16Z","timestamp":1727193316000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1785090\/1785091"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1785090","published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:13Z","timestamp":1727194213293},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,1,13]]},"abstract":"ABSTRACT\nMain subject: Violin\nResearch Supervisors:\tKathryn Cok\n Martine van der Loo\nTitle of Research:\tThe Art of Auditioning\nResearch Question:\tWhat aspects should be considered in preparation for a successful violin audition?\nSummary of Results:\nAn orchestral audition, and specifically to this paper, a violin audition, is possibly the least musically satisfying experience of one\u2019s life. However, it is a necessary part of the path leading to a fulfilling life as an orchestral musician. The preparation for an audition certainly has specific aspects which need to be considered. This paper discusses these aspects, based in large part on my experiences as a Principal in The Hague Philharmonic and as a committee member at auditions for many years. As a violin and chamber music teacher as well as the teacher of the orchestral classes at the conservatoires in The Hague and Amsterdam, I have collected a wealth of experience training students to be successful at auditions. Besides the aspects of how to apply for an orchestral audition, which repertoire needs to be prepared, (including many orchestral excerpts which I have bowed and provided with fingerings myself), how to prepare effectively and what to expect on the actual audition day, there is a large section devoted to the research I have performed concerning mental and physical preparation. Developing mental skills to withstand the stress associated with auditions is an important part of audition preparation. Finally, I have researched, by means of a series of questions online and live and Skype interviews, how experts and candidates experience auditions. This has put me in contact with leaders of orchestras from around the world. How the two groups have responded to similar questions has put me in the position to draw some conclusions as to what committees expect at auditions and how this differs from the candidates\u2019 viewpoints. In analyzing this research, and recognizing similarities in what I written from my own research and personal experience, I am able to draw some conclusions and make recommendations about how candidates could prepare better and be more successful at auditions. \nBiography:\nJanet Krause is Principal Second Violinist in The Hague Philharmonic and also a violin, chamber music and orchestral studies teacher at The Royal Conservatoire in The Hague. She is also teaching orchestral studies at the Conservatoire in Amsterdam. Born in Canada, she completed her Bachelor of Music in Performance at the University of Toronto, having studied with Lorand Fenyves. Moving to the Netherlands, she completed her solo-diploma at the Conservatory in Amsterdam, studying with Davina van Wely. She was a member of the Salzburger Solisten for many years and. primarius of the Dufy Quartet. Presently she is also Principal of the Solistes Europ\u00e9ens in Luxembourg.<\/jats:p>","DOI":"10.22501\/koncon.235825","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:42:17Z","timestamp":1725921737000},"source":"Crossref","is-referenced-by-count":0,"title":["The art of auditioning"],"prefix":"10.22501","author":[{"family":"Janet Krause","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:06Z","timestamp":1727193426000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/235825\/360914"}},"issued":{"date-parts":[[2020,1,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.235825","published":{"date-parts":[[2020,1,13]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:14Z","timestamp":1727194214299},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,3,21]]},"abstract":"In this study it is advocated to perceive performance space as overlapping multiple spatial layers, all existing in the same moment, but all with different boundaries. A triangle of performer, audience and surroundings creates performance space together as co-players by activating spatial layers and redrawing spatial boundaries. A new term is coined to better understand the unstable, moving nature of performance space: multi-space. To deal with the concept of multi-space in actual performances, the use of the verbs \u2018navigate\u2019 and \u2018zoom in\/out\u2019 are advocated. \n\nEmbedded in this study is an exposition of the artistic projects of Stijn Brinkman, in which the concept of multi-space is tested as new tool to create performances with more exploration, agency, imagination, and movement. By finding a way for performers to disappear and to be present at the same time, the domination of walls and the domination of a performer's body (both apparent in many traditional performances) are challenged. The concepts of multi-space, navigate and zoom in\/out stimulate audiences to engage more with their surroundings, while helping performers to shape their ideas always through site-specific processes.<\/jats:p>","DOI":"10.22501\/koncon.1950797","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:21Z","timestamp":1725921381000},"source":"Crossref","is-referenced-by-count":0,"title":["Navigating in Overlaps: Redefining Performance Space as Multi-Space"],"prefix":"10.22501","author":[{"family":"Stijn Brinkman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:06Z","timestamp":1727193306000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1950797\/1950798"}},"issued":{"date-parts":[[2024,3,21]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1950797","published":{"date-parts":[[2024,3,21]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:03Z","timestamp":1727196003030},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,14]]},"abstract":"Aural transposition sits at a crossroads between being a tool for practice and creating work, and being a tool that illuminates aspects of another entity. In day-to-day music practice, transposition can be an age-old tool for learning material, or a multi-layered exploration of an object or place. Transposition can also be a means of recreating places, real or imagined, through the transposition of ghost traces back into sound. And the transposition of spaces onto other spaces is possible through multichannel sound arrays. The territory for re-imagining both sound and place lies in the impossible space between the sounding entity at hand and the instrument that transposes it. Just as in the d\u00e9rive of psychogeography, the spaces between well-trod paths leads to a world beyond the banal. This exposition first situates these practices in psychogeography, and amongst other artists whose work utilizes various transposition, soundwalking or psychogeographical practices. It then discusses those aspects of my own artistic practice and work\u2014across a spectrum of electroacoustic music, improvised violin work and collaborative composition for an ensemble of mechanical string instruments\u2014 that are centered around aural transposition as an act of psychogeography.<\/jats:p>","DOI":"10.22501\/vis.788063","type":"journal-article","created":{"date-parts":[[2020,10,14]],"date-time":"2020-10-14T11:03:30Z","timestamp":1602673410000},"source":"Crossref","is-referenced-by-count":0,"title":["Aural Transposition, Psychogeography and the Ephemeral World"],"prefix":"10.22501","author":[{"family":"Katt Hernandez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:59Z","timestamp":1727194139000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/788063\/788064"}},"issued":{"date-parts":[[2020,10,14]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/vis.788063","published":{"date-parts":[[2020,10,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:29Z","timestamp":1727238749511},"posted":{"date-parts":[[2018,5,7]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In my work I experiment with interventional urban commons, through practices of altering and re-purposing existing structures. The work is both informal and transgressive in its methodology, with the core intention to investigate and participate in the shaping and making of the social city. Art and research can provide keys to accessing such a city in the making; a space where we can challenge the preconceptions of what is possible, and to imagine alternative strategies for the creation of realities. \nThis article presents a theoretical frame work together with a number of strategies practiced under the Lefebvrian concept of the \u2018Right to the City.\u2019<\/jats:p>","DOI":"10.22501\/vis.408536","type":"posted-content","created":{"date-parts":[[2018,5,5]],"date-time":"2018-05-05T08:52:52Z","timestamp":1525510372000},"source":"Crossref","is-referenced-by-count":0,"title":["Under the Mirroring Surface"],"prefix":"10.22501","author":[{"family":"Adam Kraft","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:15Z","timestamp":1727194155000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/408536\/408537\/190"}},"issued":{"date-parts":[[2018,5,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/vis.408536","published":{"date-parts":[[2018,5,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:29Z","timestamp":1727238749953},"posted":{"date-parts":[[2021,7,23]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A three-minute video, including title and credits, concerns a second re-working, in effect layer three, of a drawing that references incidental observation of the inside of a glass jar and additional materiality, such as an action camera worn in front of the eyes and how the jar is attached to the drawing\u2019s surface to enable the process\u2019s video recording. The audio concerns the counting of seconds while drawing and the prolonged intonation of the word RAUM, German for space. Each of these vocal elements directs and impacts on the drawing procedures, the latter of which are implemented with pencils designed for marking on non-porous surfaces such as plastic and glass, and erasure of such pencils on laminated white cardboard. The video fades in and out of the drawing at each of its three stages, two of which were from times prior to making the video, the last of the stages of which was up to the time of beginning the video. The video is also interspersed with scrolling typed indication of the various correspondences between the counting of time and phrases of spoken monologue, the latter of which has been divided into two audio layers through having been recorded onto both the camera\u2019s microphone and an external voice recorder. At 1: 47mins of the video the content fades to a muted simple scroll-through animation of the completed drawing of the previous video content played back a number of times, which had been responded to through the layering of the drawing the same number of times across nine pieces of handmade paper, 51 x 36cm, in plastic-based pencils and acrylic paint. The video encapsulates the above-mentioned individual facets as a single entity that provides some comment on the diverse nature of time in the context of its experience in and as drawing.\n\nKeywords: drawing; time; monologue; language; intonation<\/jats:p>","DOI":"10.22501\/i2ads.1305336","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:20Z","timestamp":1727194160000},"source":"Crossref","is-referenced-by-count":0,"title":["\u2018[\u2026] Biology of One Body\u2019s work\u2019: A video collage of seconds counted while drawing + 2-minutes\u2019 playback layered a number of times"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:20Z","timestamp":1727194160000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1305336\/1305337"}},"issued":{"date-parts":[[2021,7,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.1305336","published":{"date-parts":[[2021,7,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T05:21:01Z","timestamp":1741324861988,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T00:00:00Z","timestamp":1741219200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article concerns \u201cabsolute void\u201d as an impossible notion to describe via a reductionist approach, whose irreducible relativity emerges from efforts to imagine it \u2013 from the CERN laboratories to the artworks at MoMA. Science teaches correlations among things, not things themselves. For this, with photography and artworks, the article reflects in detail on objectivity, multivariate universes, minding the time that brings exclusive universes into the same framework, conceiving an infinite intelligence, an artificial consciousness to see things in that time.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3499981","type":"posted-content","created":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T17:41:20Z","timestamp":1741282880000},"source":"Crossref","is-referenced-by-count":0,"title":["Portico in the Park"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T17:41:20Z","timestamp":1741282880000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3499981\/3499980"}},"issued":{"date-parts":[[2025,3,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3499981","published":{"date-parts":[[2025,3,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,2,11]],"date-time":"2025-02-11T22:40:23Z","timestamp":1739313623492,"version":"3.37.0"},"posted":{"date-parts":[[2025,2,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"(CZ)\n\nP\u0159edm\u011btem m\u00e9ho v\u00fdzkumu je ekfr\u00e1ze \u2013 detailn\u00ed obrazn\u00fd popis, kter\u00fd svou p\u0159esv\u011bd\u010divost\u00ed vyvol\u00e1v\u00e1 ve \u010dten\u00e1\u0159ov\u011b \u010di poslucha\u010dov\u011b mysli vizu\u00e1ln\u00ed p\u0159edstavy nebo jin\u00e9 multisenzorick\u00e9, emocion\u00e1ln\u00ed a estetick\u00e9 pro\u017eitky. \n\nProst\u0159ednictv\u00edm setk\u00e1n\u00ed a rozhovor\u016f s lidmi z r\u016fzn\u00fdch obor\u016f se sna\u017e\u00edm p\u0159ibl\u00ed\u017eit roli popisu nap\u0159\u00ed\u010d histori\u00ed i rozli\u010dn\u00fdmi oblastmi lidsk\u00e9 \u010dinnosti. Zkoum\u00e1m, jak se m\u011bnilo postaven\u00ed popisu coby kdysi esenci\u00e1ln\u00edho stavebn\u00edho prvku rozhlasov\u00fdch po\u0159ad\u016f. D\u00e1le jeho v\u00fdznam a u\u017eit\u00ed jako jedn\u00e9 z prvn\u00edch forem reprodukce um\u011bn\u00ed, analytick\u00e9ho kunsthistorick\u00e9ho n\u00e1stroje nebo ned\u00edln\u00e9 pom\u016fcky p\u0159i interpretaci v\u00fdtvarn\u00fdch d\u011bl. Zam\u011b\u0159uji se tak\u00e9 na jeho aplikaci v podob\u011b promptu pro gener\u00e1tory obr\u00e1zk\u016f zalo\u017een\u00fdch na strojov\u00e9m u\u010den\u00ed a tr\u00e9nov\u00e1n\u00ed neuronov\u00fdch s\u00edt\u00ed. A v\u011bnuji prostor tak\u00e9 \u00faloze popisu v \u017eivot\u011b nevidom\u00fdch a zrakov\u011b hendikepovan\u00fdch i jeho funkci jako kl\u00ed\u010dov\u00e9ho n\u00e1stroje v psychoterapeutick\u00e9 praxi.\n\nPodstatnou sou\u010d\u00e1st pr\u00e1ce tvo\u0159\u00ed sd\u00edlen\u00ed konkr\u00e9tn\u00edch pedagogick\u00fdch postup\u016f p\u0159i v\u00fduce um\u011bn\u00ed v intermedi\u00e1ln\u00edm ateli\u00e9ru na Akademii v\u00fdtvarn\u00fdch um\u011bn\u00ed v Praze (AVU) a v kurzu intermedi\u00e1ln\u00ed p\u0159\u00edpravky tamt\u00e9\u017e. V tomto prost\u0159ed\u00ed, kde se \u010dasto pohybujeme mezi m\u00e9dii, hraje ekfr\u00e1ze z\u00e1sadn\u00ed roli \u2013 umo\u017e\u0148uje p\u0159eklenout mezeru mezi slovy a obrazy, respektive pln\u00ed roli \u017e\u00e1nru prost\u0159edkuj\u00edc\u00edho mezi m\u00e9dii.\n\nV z\u00e1v\u011bru diserta\u010dn\u00ed pr\u00e1ce prezentuji vlastn\u00ed um\u011bleck\u00fd audit v podob\u011b autorsk\u00e9 knihy. Z\u00e1rove\u0148 uv\u00e1d\u00edm sb\u00edrku ekfr\u00e1z\u00ed p\u0159ev\u00e1\u017en\u011b fiktivn\u00edch um\u011bleck\u00fdch d\u011bl, kter\u00e9 jsem b\u011bhem sv\u00e9ho v\u00fdzkumu nashrom\u00e1\u017edil od studuj\u00edc\u00edch a vyu\u010duj\u00edc\u00edch na AVU.\n\n\u00favodn\u00ed ilustrace: Martin Groch\n\n\n(EN)\n\nMy research topic is the ekphrasis, i.e., a detailed figurative description that, with its conclusiveness, evokes visual images or other multisensory, emotional and aesthetic experiences in the reader\u2019s or listener\u2019s mind. \n\nThrough meetings and interviews with people from different disciplines, I try to approach the role of description throughout history and various areas of human activity. I examine how the notion of description as a historically essential building block of radio programmes has changed. Furthermore, the emphasis is put on its importance and use as one of the first forms of art reproduction, as an analytical tool for art historians or as a crucial device for artwork interpretation. I also focus on its application in prompting of image generators based on machine learning and neural network training. And I also consider the role of description in the lives of the blind and visually impaired as well as it being a key tool in psychotherapy.\n\nA substantial part of the work is dedicated to the dissemination of specific pedagogical practices in teaching art in the Intermedia Studio at the Academy of Fine Arts in Prague (AVU) and in the intermedia preparatory course there. In this environment, where we often switch between various media, the ekphrasis has a crucial role. It allows us to bridge the gap between words and images, or rather it represents a genre that mediates between the given media.\n\nIn the conclusion of my dissertation, I present my own artistic audit represented by my artist's book. At the same time, I present a collection of ekphrases of mostly fictional works of art that I collected from students and teachers at the Academy of Fine Arts during my research.\n\nthumbnail by Martin Groch<\/jats:p>","DOI":"10.22501\/rc.3398066","type":"posted-content","created":{"date-parts":[[2025,2,11]],"date-time":"2025-02-11T22:09:21Z","timestamp":1739311761000},"source":"Crossref","is-referenced-by-count":0,"title":["Pozorov\u00e1n\u00ed a jeho popis"],"prefix":"10.22501","author":[{"family":"Roman \u0160t\u011btina","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,11]],"date-time":"2025-02-11T22:09:22Z","timestamp":1739311762000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3398066\/3398637"}},"issued":{"date-parts":[[2025,2,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3398066","published":{"date-parts":[[2025,2,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:31Z","timestamp":1742358151179,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0029","type":"report","created":{"date-parts":[[2020,7,14]],"date-time":"2020-07-14T08:21:30Z","timestamp":1594714890000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Thor Magnusson \u201cSonic Writing. Technologies of Material, Symbolic and Signal Inscriptions\u201d"],"prefix":"10.22501","author":[{"given":"Angel","family":"Alvarado Cabellos","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,7,14]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:02Z","timestamp":1742292182000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-thor-magnusson-sonic-writing-technologies-material-symbolic-and-signal-inscriptions"}},"issued":{"date-parts":[[2020,7,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0029","published":{"date-parts":[[2020,7,14]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:31Z","timestamp":1742358151174,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,3,27]]},"DOI":"10.22501\/jarnet.0027","type":"report","created":{"date-parts":[[2020,3,27]],"date-time":"2020-03-27T13:16:46Z","timestamp":1585315006000},"source":"Crossref","is-referenced-by-count":0,"title":["SAR*10 La Conferencia Internacional sobre Investigaci\u00f3n Art\u00edstica abord\u00f3 las brechas productivas, los formatos intensificados de diseminaci\u00f3n y los errores inspiradores"],"prefix":"10.22501","author":[{"given":"Mireia C.","family":"Saladrigues","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,3,27]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:01Z","timestamp":1742292181000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/sar10-la-conferencia-internacional-sobre-investigacion-artistica-abordo-las-brechas-productivas-los"}},"issued":{"date-parts":[[2020,3,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0027","published":{"date-parts":[[2020,3,27]]}},{"indexed":{"date-parts":[[2025,1,12]],"date-time":"2025-01-12T13:10:10Z","timestamp":1736687410769,"version":"3.32.0"},"posted":{"date-parts":[[2025,1,12]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Documentation of the 'Expanding Public (Im)Possibilities' gathering, an international gathering of disciplines that perform public space |\nOrganized by the Fontys Professorship Artistic Connective Practices, Fontys MA Performing Public Space and Fontys Journalism.<\/jats:p>","DOI":"10.22501\/rc.2847448","type":"posted-content","created":{"date-parts":[[2025,1,12]],"date-time":"2025-01-12T12:32:26Z","timestamp":1736685146000},"source":"Crossref","is-referenced-by-count":0,"title":["Expanding Public (Im)Possibilities"],"prefix":"10.22501","author":[{"family":"Xenia Tsompanidou","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,1,12]],"date-time":"2025-01-12T12:32:26Z","timestamp":1736685146000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2847448\/2847449"}},"issued":{"date-parts":[[2025,1,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2847448","published":{"date-parts":[[2025,1,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,11,7]],"date-time":"2024-11-07T05:26:29Z","timestamp":1730957189649,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"33","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,11,6]]},"abstract":"This exposition explores how the Betty Nansen Theatre in Copenhagen, with the artistic research project, BETTY DEVELOPS, works with spreading a collaborative practice to the infrastructure of an entire institutional theatre and how this renegotiates the notion of artistic genius and the star. The exposition offers a meta-reflection on the author\u2019s artistic research activities at the theatre. These reflections shed light on what happens when collaborative methods of working and producing are implemented in an institutional theatre and discuss the extent to which artistic research can develop methods for collaborative co-creation as well as resistance to the neoliberal individualised performance culture. Could such methods prevent you from falling back on a modernist understanding of the artist as the original creator of an individual expression and instead support a collaborative art and knowledge practice? As opposed to defining artistic creation as something that springs from and comes from an individual (the artistic genius or star), the author argues that artistic creation is a relational act, and that art is something that comes to be between people. \n\nThis exposition is a collage of empirical material, text, images, and video gathered and produced over the last five years while facilitating, documenting, researching, and sharing the development of fourteen BETTY DEVELOPS productions.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n\n<a class=\"download-accessible\" href=\"download-media?work=3155507&file=3155518\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.1695946","type":"journal-article","created":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T08:53:06Z","timestamp":1730883186000},"source":"Crossref","is-referenced-by-count":0,"title":["Renegotiating the notion of artistic genius - within the frame of an institutional theatre"],"prefix":"10.22501","author":[{"family":"Mette Tranholm","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T20:26:39Z","timestamp":1730924799000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1695946\/1695947"}},"issued":{"date-parts":[[2024,11,6]]},"references-count":0,"journal-issue":{"issue":"33"},"URL":"https:\/\/doi.org\/10.22501\/jar.1695946","published":{"date-parts":[[2024,11,6]]}},{"indexed":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T14:41:44Z","timestamp":1765464104679,"version":"3.48.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","license":[{"start":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T00:00:00Z","timestamp":1765411200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,12,11]]},"abstract":"This exposition presents parts of a practice-based artistic research project, Acts of Transfer, a collaboration between artist Katy Beinart and writer Lizzie Lloyd (2020\u20132021). The project consists of a series of \u2018chapters\u2019 which revisit artworks from the recent past that involved social engagement or public participation, documenting both the process and outcomes of our returns. Acts of Transfer was interested in what the afterlife of such artworks might be and how they might be meaningfully represented in the future. Each return or \u2018chapter\u2019 generates new artwork, while retaining some sense of the original. They include a range of outcomes: excerpts (screenshots, photographs, readings, instructions etc.) from the original artworks made by our participants, as well as our own documentation through photography, drawings, and notes taken during our returns, alongside passages of experimental writing and films. In presenting parts of this project in Acts of Transfer: Documentation as Creative Reimagining, we further explore how documentation might serve as a means to reenact and reimagine the artworks to which we returned. In each case, we consider how aesthetic, emotional, physical, psychological or conceptual transfer might signify to those involved and to future audiences. We expose the complicated relationships that underlie practices that rely on participation, and highlight how meaning develops beyond the immediate duration of such projects. What follows renders these complications tangible, leading to new artworks that are intentionally emergent and fragmented. We look to evoke the effervescent experience of participating, remembering and communicating experiences of social, relational and durational artwork, to hold fast to what is lost and what might be reimagined.<\/jats:p>\n keywords: socially engaged art, documentation, archives, Participatory Art<\/jats:p>","DOI":"10.22501\/ruu.2376114","type":"journal-article","created":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T14:31:47Z","timestamp":1765463507000},"source":"Crossref","is-referenced-by-count":0,"title":["Acts of Transfer: Documentation as Creative Reimagining."],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-1568-2748","authenticated-orcid":false,"family":"Katy Beinart","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"ORCID":"https:\/\/orcid.org\/0000-0001-6635-7529","authenticated-orcid":false,"family":"Lizzie Lloyd","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T14:31:48Z","timestamp":1765463508000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2376114\/3539226"}},"issued":{"date-parts":[[2025,12,11]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2376114","published":{"date-parts":[[2025,12,11]]}},{"indexed":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T11:10:29Z","timestamp":1767006629771,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0060","type":"journal-article","created":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T19:59:15Z","timestamp":1672343955000},"source":"Crossref","is-referenced-by-count":2,"title":["Artistic Research and the Need for a Paradigmatic Shift in Art Research"],"prefix":"10.22501","author":[{"given":"Erlend","family":"Hovland","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2022]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:26Z","timestamp":1742292206000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/artistic-research-and-need-paradigmatic-shift-art-research"}},"issued":{"date-parts":[[2022]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0060","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2022]]}},{"indexed":{"date-parts":[[2026,1,1]],"date-time":"2026-01-01T18:53:35Z","timestamp":1767293615518,"version":"3.48.0"},"posted":{"date-parts":[[2026,1,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,1]],"date-time":"2026-01-01T00:00:00Z","timestamp":1767225600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article explores monotheistic religions as powerful linguistic and social structures that function through a mechanism of collective delusion. Drawing on Jacques Lacan\u2019s structuralist insights, the text argues that these faiths are not based on objective history but are fictions codified long after the events they describe.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3442029","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:04:49Z","timestamp":1740722689000},"source":"Crossref","is-referenced-by-count":0,"title":["Monotheist Mythology"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,1]],"date-time":"2026-01-01T18:51:18Z","timestamp":1767293478000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3442029\/3442028"}},"issued":{"date-parts":[[2026,1,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3442029","published":{"date-parts":[[2026,1,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,11,7]],"date-time":"2025-11-07T09:52:50Z","timestamp":1762509170070,"version":"build-2065373602"},"posted":{"date-parts":[[2025,11,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,7]],"date-time":"2025-11-07T00:00:00Z","timestamp":1762473600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is part of the series The Sonic Atelier \u2013 Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, performance, production, and technology.This interview features Rafiq Bhatia, American guitarist, composer, and producer, and member of the experimental trio Son Lux. Bhatia\u2019s work dissolves the boundaries between jazz, electronic, and contemporary classical music, exploring sound as a sculptural and spatial material. His practice embodies a deep integration of composition, production, and performance\u2014where the studio becomes an instrument, and the act of shaping sound is inseparable from the act of composing.In the conversation, Bhatia reflects on the interdependence between the roles of composer, performer, and producer, on the DAW as a generative and compositional environment, and on the emergence of sonic identity through timbre, space, and texture. He discusses collaboration within Son Lux, his process of scoring for film, and the relationship between abstraction and precision in communicating musical ideas to orchestras and ensembles.Bhatia\u2019s reflections reveal an artistic vision in which technology and human expression coexist symbiotically: music as a living, evolving ecosystem of gestures, resonances, and spaces\u2014an art of listening, translation, and transformation.<\/jats:p>\n keywords: Rafiq Bhatia, Son Lux, Contemporary Composition, Hybrid composer, music production, performance, Sound Design, spatialization, DAW, electronic music, post-classical, Film scoring, collaboration, sonic identity, Technology and creativity, Expanded composition, Acoustic and electronic integration, Sound as material, Process-oriented composition, Timbre and space, creative process, music<\/jats:p>","DOI":"10.22501\/rc.3974822","type":"posted-content","created":{"date-parts":[[2025,11,7]],"date-time":"2025-11-07T09:35:51Z","timestamp":1762508151000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sonic Atelier #8 \u2013 A Conversation with Rafiq Bhatia (and Son Lux)"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0008-6646-3987","authenticated-orcid":false,"family":"Francesca Guccione","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,7]],"date-time":"2025-11-07T09:35:51Z","timestamp":1762508151000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3974822\/3974821"}},"issued":{"date-parts":[[2025,11,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3974822","published":{"date-parts":[[2025,11,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:59Z","timestamp":1759335179765,"version":"build-2065373602"},"posted":{"date-parts":[[2025,2,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,23]],"date-time":"2025-02-23T00:00:00Z","timestamp":1740268800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Denne siden inneholder fotodokumentasjon av refleksjonshylla p\u00e5 biblioteket p\u00e5 Kunsth\u00f8gskolen i Oslo. Hylla inneholder objekter i keramikk, leire og andre materialer som har v\u00e6rt viktige for utviklingen av det kunstnersike doktorgradsprosjektet \"Jording med (bl\u00e5)leire\", og objektene kan h\u00e5ndteres. Alle objektene leder til en hypertekst p\u00e5 research catalogue. \n\n\/\n\nThis page contains photo documentation of the reflection shelf at the library of the Oslo National Academy of the Arts. The shelf contains objects made of ceramics, clay, and other materials that have been important in the development of the artistic doctoral project \"Grounding with (blue)clay,\" and the objects can be handled. Each object links to a hypertext on research catalogue.<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, clay, blueclay, artistic resaerch, dokumentasjon<\/jats:p>","DOI":"10.22501\/rc.3153820","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:06:44Z","timestamp":1740722804000},"source":"Crossref","is-referenced-by-count":0,"title":["Dokumentasjon av refleksjonshylla \/ Documentation of the reflection shelf"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:40Z","timestamp":1759302640000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3153820\/3153395"}},"issued":{"date-parts":[[2025,2,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3153820","published":{"date-parts":[[2025,2,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,5,18]],"date-time":"2025-05-18T04:04:59Z","timestamp":1747541099782,"version":"3.40.5"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,17]],"date-time":"2025-05-17T00:00:00Z","timestamp":1747440000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,17]]},"abstract":"This research explores the intersection of music and visual art through the lens of Gilles Silvestrini\u2019s Six \u00c9tudes pour Hautbois and the Impressionist paintings that inspired them. By critically analysing existing studies, interviews, and articles, this study identifies five key techniques composers and performers may use to translate visual elements into music. These approaches not only deepen the understanding of Silvestrini\u2019s work but also offer performers a structured framework for interpretation.\n\nThis theoretical framework formed the starting point for experimentation and reflection both in the practice studio and with live audiences. This process challenges conventional classical performance practices by examining the balance between a composer\u2019s intent and a performer\u2019s interpretative autonomy. While Silvestrini does not explicitly prescribe a connection between the \u00e9tudes and their corresponding paintings, this study argues that performers should embrace their own interpretative choices, enriching both the performance and the audience experience.<\/jats:p>\n keywords: music, artwork, Silvestrini, painting, inspiration, interpretation, oboe<\/jats:p>","DOI":"10.22501\/koncon.3154984","type":"journal-article","created":{"date-parts":[[2025,5,17]],"date-time":"2025-05-17T09:21:18Z","timestamp":1747473678000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing Music Inspired by Visual Art: Interpreting G. Silvestrini\u2019s Six \u00c9tudes pour Hautbois through the Impressionist paintings that inspired them"],"prefix":"10.22501","author":[{"family":"Zo\u00eb Loxley Slump","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,5,17]],"date-time":"2025-05-17T09:21:19Z","timestamp":1747473679000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3154984\/3440065"}},"issued":{"date-parts":[[2025,5,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3154984","published":{"date-parts":[[2025,5,17]]}},{"indexed":{"date-parts":[[2025,7,1]],"date-time":"2025-07-01T04:06:33Z","timestamp":1751342793720,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,6,30]],"date-time":"2025-06-30T00:00:00Z","timestamp":1751241600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,6,30]]},"abstract":"At the turn of the nineteenth century, cellists were trained to provide chordal continuo realisation for recitativi in various parts of Europe. In other words, when they accompanied an upper voice, players would create a harmonically rich texture to better support the line above them, filling in chords rather than playing single bass notes. My research aims to trace the origins of this practice, examining pedagogical materials from the Neapolitan conservatories at the end of the 1600s. First, we investigate sections of the Montecassino Manuscript MS 2-D-13 (1699), analysing cases when Neapolitan-trained cellists needed to conjure up music beyond the written bass line. Selected works by prominent cello virtuosi and pedagogues of the time (Rocco Greco, Gaetano Francone, and Francesco Supriani) help us grasp how the violoncello gained the possibility of playing sophisticated improvised lines upon a bass and even (dare we say) partimenti. The second part of my research takes us forward in time to the second half of the eighteenth century. We discover how Salvatore Lanzetti and Antonio Guida continued the pedagogical traditions established by the preceding generations of Maestri, crafting methods that trained cellists to employ the rule of the octave in order to get comfortable with chordal improvisation. Ultimately, these explorations aim to suggest how the ground may have been fertilized for the growth of the aforementioned recitativo practices in the late 1700s, treating chordal continuo realisation as a result of a dynamic process across generations rather than an isolated phenomenon.<\/jats:p>\n keywords: Partimento, Cello, chords, improvisation, Naples, classical cello, pedagogy, early music, baroque<\/jats:p>","DOI":"10.22501\/koncon.3190581","type":"journal-article","created":{"date-parts":[[2025,6,30]],"date-time":"2025-06-30T10:13:18Z","timestamp":1751278398000},"source":"Crossref","is-referenced-by-count":0,"title":["The Birth of Cello Virtuosity"],"prefix":"10.22501","author":[{"family":"Antonio Pellegrino","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,6,30]],"date-time":"2025-06-30T10:13:18Z","timestamp":1751278398000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3190581\/3190582"}},"issued":{"date-parts":[[2025,6,30]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3190581","published":{"date-parts":[[2025,6,30]]}},{"indexed":{"date-parts":[[2025,6,11]],"date-time":"2025-06-11T04:09:29Z","timestamp":1749614969908,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,6,10]],"date-time":"2025-06-10T00:00:00Z","timestamp":1749513600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2025,6,10]]},"abstract":"The artistic research project \"(un)Romantic \/ Improvising Interpretation\" 2021-2024 was led by vocalist\/composer Live Maria Roggen and pianist\/composer Ingfrid Breie Nyhus at the Norwegian Academy of Music, funded by the Norwegian Artistic Research Programme.\n\nThe explorations have concerned creative interpretation and aesthetical language, through improvising together as a duo: What can an interpretation be or become? Where does a story live? What is Romantic and what is unRomantic? Where does the \u2018new\u2019 begin and where does the \u2018old\u2019 go?<\/jats:p>\n keywords: interpretation, improvisation, composition, romanticism, duo<\/jats:p>","DOI":"10.22501\/nmh-ar.1732861","type":"journal-article","created":{"date-parts":[[2025,6,10]],"date-time":"2025-06-10T13:33:52Z","timestamp":1749562432000},"source":"Crossref","is-referenced-by-count":0,"title":["(un)Romantic \/ Improvising Interpretation"],"prefix":"10.22501","author":[{"family":"Ingfrid Breie Nyhus","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Live Maria Roggen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,6,10]],"date-time":"2025-06-10T13:33:53Z","timestamp":1749562433000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1732861\/3063696"}},"issued":{"date-parts":[[2025,6,10]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1732861","published":{"date-parts":[[2025,6,10]]}},{"indexed":{"date-parts":[[2025,9,17]],"date-time":"2025-09-17T03:22:14Z","timestamp":1758079334603,"version":"3.44.0"},"posted":{"date-parts":[[2025,9,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,16]],"date-time":"2025-09-16T00:00:00Z","timestamp":1757980800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"On drawing as a practice of the in-between in the sense of the Japanese concept ma. Using the Sketch&Draw method, it is shown that drawing is neither mere representation nor pure invention, but a dialogical process between perception, memory, hand, and world. Neuroscientific models such as Predictive Coding demonstrate that each line is a proposal by the brain of how the world might be, which is then fed back and refined in the process of drawing. The hand appears not as a mere tool, but as a thinking organ, tightly coupled with perception and memory.\nReferring to Mih\u00e1ly Cs\u00edkszentmih\u00e1lyi\u2019s theory of Flow, it is shown that the immediacy of hand drawing \u2013 in contrast to digital procedures \u2013 is decisive for entering a state in which perception and action seamlessly merge. Philosophical perspectives from Maurice Merleau-Ponty and Tim Ingold highlight that the line is not merely a boundary, but a resonance space in which the invisible can become manifest.\nDrawing thus proves to be a process of knowledge, one that unfolds slowly, comparable to a species-rich meadow: unplannable, yet not random. In the in-between of world and subject, line and gaze, a form of knowledge emerges that can be understood as Intelligens \u2013 a creative third way beyond control and helplessness.<\/jats:p>\n keywords: Drawing as cognition, Embodied perception, Creative process, Resonance space, Serendipity in art, Ecology of knowledge, Drawing as cognition, Embodied perception, creative process, Resonance space, Serendipity in art, Ecology of knowledge<\/jats:p>","DOI":"10.22501\/rc.3869376","type":"posted-content","created":{"date-parts":[[2025,9,16]],"date-time":"2025-09-16T14:01:46Z","timestamp":1758031306000},"source":"Crossref","is-referenced-by-count":0,"title":["Drawing in the In-Between \u2013 ma, Intelligens and the Sketch&amp;Draw Method"],"prefix":"10.22501","author":[{"family":"Tanja K. Hess","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,9,16]],"date-time":"2025-09-16T14:01:47Z","timestamp":1758031307000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3869376\/3869375"}},"issued":{"date-parts":[[2025,9,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3869376","published":{"date-parts":[[2025,9,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T19:10:39Z","timestamp":1754161839604,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T00:00:00Z","timestamp":1753747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,7,29]]},"abstract":"I denne mastergradsavhandlingen unders\u00f8ker jeg gjennom kunstnerisk utviklingsarbeid hvordan stilelementer fra norsk folkemusikk kan benyttes som utgangspunkt for \u00e5 utvikle nye, pianobaserte komposisjoner. Arbeidet tar utgangspunkt i erfaringer gjort i min egen kunstneriske praksis. Avhandlingen baserer seg p\u00e5 to nye komposisjoner, hvor jeg tar for meg ett folkemusikalsk prinsipp i hver \u2013 asymmetrisk takt i Telebound og variabilitet i H\u00f8stsl\u00e5tt. Disse er utgangspunktet for to casestudier som bygger p\u00e5 praktisk skapende arbeid, dokumentasjon av prosess, og refleksjon og analyse av de kunstneriske resultatene. Det overordnede m\u00e5let har v\u00e6rt \u00e5 finne ut hvordan disse prinsippene kan oversettes til min egen musikalske kontekst, og hvordan de har p\u00e5virket komposisjonsprosessen, produksjonen og resultatet.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/uia.3596175","type":"journal-article","created":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:30:24Z","timestamp":1753788624000},"source":"Crossref","is-referenced-by-count":0,"title":["Folkpiano"],"prefix":"10.22501","author":[{"family":"Lars Jakob Rudjord","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:30:24Z","timestamp":1753788624000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3596175\/3596176"}},"issued":{"date-parts":[[2025,7,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.3596175","published":{"date-parts":[[2025,7,29]]}},{"indexed":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T19:40:04Z","timestamp":1759866004595,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T00:00:00Z","timestamp":1759795200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Since 2023, I have been conducting doctoral research titled \u201cWays of Managing Artists\u2019 Estates in the Czech Context\u201d, which addresses the issue of managing Artists\u2019 estates and maps the current situation in the Czech environment. Its main aim is to provide a comprehensive overview of the functioning, possibilities, and strategies related to the management, development, and accessibility of Artists\u2019 estates as they appear in the Czech context. \n\nThe research seeks to contribute to expanding the theoretical foundation in this field, which has so far received little systematic scholarly attention in the Czech Republic. It aims to identify the main challenges faced by estate management in the Czech context, to explore the role of estate administrators, and to find examples of projects and programs supporting the operation of artists\u2019 estates in countries neighboring the Czech Republic.\n\nDoctoral research is to be followed by exhibition (2026, Industra Brno) and publication.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3921261","type":"posted-content","created":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T19:00:00Z","timestamp":1759863600000},"source":"Crossref","is-referenced-by-count":0,"title":["Ways of Managing Artists\u2019 Estates in the Czech Context"],"prefix":"10.22501","author":[{"family":"Petra Wid\u017eov\u00e1","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T19:00:00Z","timestamp":1759863600000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921261\/3921262"}},"issued":{"date-parts":[[2025,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921261","published":{"date-parts":[[2025,10,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:35:01Z","timestamp":1759883701657,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T00:00:00Z","timestamp":1759795200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Hauntmark Theory\nThe Lingering Weight of Words\n\nA Treatise by Dorian Vale\n\nWhat if language didn\u2019t just describe art \u2014 but scarred it?\n\n \n\nIn this piercing treatise, Dorian Vale introduces Hauntmark Theory, a philosophical framework that confronts the violence embedded in language when used to name, contain, or explain a work of art. The theory proposes that every word leaves a residue, a trace that either preserves presence or disfigures it \u2014 and that careless interpretation is not neutral, but haunting.\n\n \n\nDrawing on post-linguistic philosophy, trauma theory, and Post-Interpretive Criticism (PIC), this work reframes criticism as a moral event, where each act of description leaves behind a mark: some delicate, some damaging, all irreversible. It introduces key concepts such as Hauntmarks, Linguistic Overreach, Descriptive Violence, and the Silent Custodian, arguing that the deepest form of reverence lies not in what we say about art \u2014 but in what we choose not to say.\n\n \n\nWhere previous treatises in the Post-Interpretive Movement reimagined the role of the viewer and the critic, Hauntmark Theory addresses the unspoken aftermath of critique: how words linger in the air around the work, often louder than the work itself.\n\n \n\nThis is not a call for silence. It is a call for sacred restraint \u2014 for a new vocabulary of witness, where words do not eclipse the art, but kneel beside it.\n\n \n\nVale, Dorian. Hauntmark Theory: The Lingering Weight of Words. Museum of One, 2025. DOI: 10.5281\/zenodo.17052531\n\nDorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.\n\nHauntmark Theory, Dorian Vale, Post-Interpretive Criticism, art criticism ethics, language and art, trauma in art writing, aesthetic linguistics, descriptive violence, semiotics of witnessing, residue in criticism, moral restraint in language, art and silence, linguistic harm in interpretation, reverent art criticism, critical writing and ethics, sacred language, philosophical aesthetics, phenomenology of critique, ethics of naming, poetic restraint, custodial criticism\n\n \n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness<\/jats:p>","DOI":"10.22501\/rc.3921501","type":"posted-content","created":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T19:40:13Z","timestamp":1759866013000},"source":"Crossref","is-referenced-by-count":0,"title":["Hauntmark Theory: The Lingering Weight of Words"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T19:40:13Z","timestamp":1759866013000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921501\/3921500"}},"issued":{"date-parts":[[2025,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921501","published":{"date-parts":[[2025,10,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,6]],"date-time":"2026-03-06T14:02:24Z","timestamp":1772805744428,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,6]],"date-time":"2026-03-06T00:00:00Z","timestamp":1772755200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201cMisfortune is the echo of hope\u201dBy looking attentively we can renew our world constantly, everything that surrounds, even the most banal is a portrait of hope. In this Exposition I choose to focus on what is directly around me, in a nearly autobiographical form, at a same time forming a kind of portrait of a city and a memory of a disappearance. Paradoxically, the disasters of what is no longer with us, that has been lost, is also what we should maintain in \"echo\" as an act of tenderness. In an exercise of simplicity that arises from the question \"what is the shipwrecked person left with?\" of Hans Blumemberg.<\/jats:p>\n keywords: Memory, landscape, urban politics, looking<\/jats:p>","DOI":"10.22501\/rc.2477318","type":"posted-content","created":{"date-parts":[[2026,3,6]],"date-time":"2026-03-06T09:58:32Z","timestamp":1772791112000},"source":"Crossref","is-referenced-by-count":0,"title":["Ningu\u00e9m entra duas vezes no mesmo rio."],"prefix":"10.22501","author":[{"family":"rodrigo queir\u00f3s","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,6]],"date-time":"2026-03-06T09:58:32Z","timestamp":1772791112000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2477318\/2477319"}},"issued":{"date-parts":[[2026,3,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2477318","published":{"date-parts":[[2026,3,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,2,18]],"date-time":"2026-02-18T15:15:28Z","timestamp":1771427728521,"version":"3.50.1"},"posted":{"date-parts":[[2026,2,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,18]],"date-time":"2026-02-18T00:00:00Z","timestamp":1771372800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Cruising with Craft to the Ends of the Worlds: Practices of shattering, becoming scyborg and dancing with dragons as possible cartographies is an investigation of cruising with craft as a companion to explore how its languages and discourses contribute to processes of equity such as decolonization and can challenge ivory tower academic structures through its cracks and margins, the place of the undercommons. Thinking with craft becomes essential in scyborgism. As la paperson defines in A Third University is Possible a scyborg \"is a queer turn of word that I offer to you to name the structural agency of persons who have picked colonial technologies and reassembled them to decolonizing purposes.\" la paperson uses the scyborg within the academic institution to use the resources given for decolonial purposes when reconfigured. There is interest in how this idea can be expanded to other institutions such as the archive and the museum as well as the academy and artistic practice-based research with craft as a companion. Craft becomes crucial for its direct connection to the colonial framing of human and non-human and forces the consideration of the individual as well as the collective simultaneously.Collaborating and kinship making with artists and institutions of a vast array of disciplines has the potential to reassemble or reconfigure the current cultural systems of queerness and body politics while shattering the boundaries academically imposed on craft as a field. Unpacking the witnessing of toxic intimacies and the embedded systems of oppression rooted into the geological strata of cultural institutions as unpacked by Kathryn Yousoff, there is an urgency to develop ways to disrupt and subvert these mechanisms. lambert deploys the shoal or sandbar in reference to the work of Tiffany Lethabo King\u2019s work The Black Shoals: Offshore Formations of Black and Native Studies to allow for constant shifting(s) and assemblage(s) to produce vibrations, meanings and embodied understandings. Through Natalie Loveless\u2019s development of polydisciplinamory, a chimerical practice of making, collaborating, writing and curating creates systems for platform building and methodologies to talk with and not at, in regard to the othered body. These methods centralize joy and pleasure, making them crucial in developing alternative models of institutional existence.The thesis is comprised of a miscellany of compositions such as texts, images, objects and prior publications that have been assembled together to form this publication with Patrick Lacey and Jens Schildt. In this, there is no ending, no beginning, no index, only choices to be made and actions to be considered. The process of this assemblage marks a moment where work becomes material, context and tool for cruising once again. The person who encounters this becomes the research, acting in solidarity with Loveless\u2019 resistance to the monography that explains and instead centers the value and importance of practice as the research itself.<\/jats:p>\n keywords: cruising, queer, decolonial, epistolary, novella, shattering, undercommons, auntology, craft, scyborg, shoal, assemblage, publishing, tending, desire path, kinship, mastery, origins, Konstfack portal - research<\/jats:p>","DOI":"10.22501\/rc.4189001","type":"posted-content","created":{"date-parts":[[2026,2,18]],"date-time":"2026-02-18T14:10:39Z","timestamp":1771423839000},"source":"Crossref","is-referenced-by-count":0,"title":["Cruising with Craft to the Ends of the Worlds: Practices of shattering, becoming scyborg and dancing with dragons as possible cartographies"],"prefix":"10.22501","author":[{"family":"lambert","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,2,18]],"date-time":"2026-02-18T14:26:37Z","timestamp":1771424797000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4189001\/4189002"}},"issued":{"date-parts":[[2026,2,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4189001","published":{"date-parts":[[2026,2,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T22:00:45Z","timestamp":1777672845651,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"Hanna Vahvasel\u00e4n ekspositio Uuden aaton katu: poeettis-poleeminen puheenvuoro kaupunkitilan kokemisesta vammaisn\u00e4k\u00f6kulmasta, on syntynyt Markus Jalosen teoksen Uuden aaton katu ymp\u00e4rille. Teos on kuvia ja teksti\u00e4 sis\u00e4lt\u00e4v\u00e4 kurssiteht\u00e4v\u00e4 N\u00e4k\u00f6vammaisten Kulttuuripalvelun j\u00e4rjest\u00e4m\u00e4lt\u00e4 Kuvataide NYT! verkkokurssilta, korona-ajalta syksylt\u00e4 2020. Vahvaselk\u00e4 toimi kurssin opettajana. T\u00e4ss\u00e4 ekspositiossa Vahvaselk\u00e4 taustoittaa Jalosen teosta ja tuo sen taiteellisen tutkimuksen kontekstiin.<\/jats:p>\n keywords: kaupunkitila, moninaisuus, interventio, taideperustainen tutkimus, taisteleva tutkimus, kuvataide, n\u00e4k\u00f6vammaisuus, kokemus<\/jats:p>","DOI":"10.22501\/ruu.1577340","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:06:30Z","timestamp":1777449990000},"source":"Crossref","is-referenced-by-count":0,"title":["Uuden aaton katu: poeettis-poleeminen puheenvuoro kaupunkitilan kokemisesta vammaisn\u00e4k\u00f6kulmasta."],"prefix":"10.22501","author":[{"family":"Hanna Vahvaselk\u00e4","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:06:31Z","timestamp":1777449991000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1577340\/1577341"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1577340","published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T21:50:43Z","timestamp":1777672243376,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"This exposition shares findings from my ongoing research that explores cities through the spatial and somatic practices of dance and urban studies. I am interested in how we enrich our concepts for understanding and developing cities to include their sensory textures as political realities. As a choreographer artist-scholar, I offer insights from an embodied approach, engaging cities as responsive collaborators when encountered through movement. Here, I share reflections and findings drawn from using dance-based knowledges to engage cities as living archives, which include an ever-changing record of how people move, imagine, and enact what it is to be human. I have found that dancing with cities reveals interwoven environments shaped by the ideologies that govern how mobilities are fostered, constrained, and enacted. In this exposition, I temporarily gather these dynamics into three categories (connection, transformation, and learning) as a framework for analysis and discussion.<\/jats:p>\n keywords: Dance, city, relational, emplaced, movement, urban planning<\/jats:p>","DOI":"10.22501\/ruu.3015886","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:04:12Z","timestamp":1777449852000},"source":"Crossref","is-referenced-by-count":0,"title":["City Dances: what the city reveals using dance as a method"],"prefix":"10.22501","author":[{"family":"Adesola Akinleye","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:04:12Z","timestamp":1777449852000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3015886\/3015887"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3015886","published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,4,11]],"date-time":"2026-04-11T20:45:08Z","timestamp":1775940308085,"version":"3.50.1"},"posted":{"date-parts":[[2026,4,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,11]],"date-time":"2026-04-11T00:00:00Z","timestamp":1775865600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Rigid definitions of displacement in the mainstream are not effective in accompanying the current meanings of the human experience. In response to this, through cooperation with personal reflections and theoretical methodologies, this paper attempts to explore the radically embedded bodily and mental experiences of displacement and their spatial intersections. Motivated by personal experiences, I advocate for a significant paradigm shift in our treatment of displaced narratives and the individuals inhabiting them. This shift involves exploring the mind as an active agent, and the body as a vessel. Here I propose multi-dimensionalizing open-mindedness. Then, I argue that these components are interconnected within the context of individual and collective narratives. All these notions are brought together by cultural criticism and artistic expression in pursuance of breaking down the different embodiments of displacement as an alternative approach to knowledge production. By reorganizing the relationality of these views, while fostering new forms of individual and collective agencies through interactive reflection between objectivity and subjectivity, I conclude this paper with an expectation to open up a dialogue about the need to adopt alternative and interdisciplinary perspectives for diversifying our views on displacement.<\/jats:p>\n keywords: Displacement, displaced persons, open-mindedness, open-minded, embodiment, spatial, individual, individual memory, collective, collective memroy<\/jats:p>","DOI":"10.22501\/rc.3948027","type":"posted-content","created":{"date-parts":[[2026,4,11]],"date-time":"2026-04-11T20:12:12Z","timestamp":1775938332000},"source":"Crossref","is-referenced-by-count":0,"title":["Between Embodiments: Diversifying Views on Displacement through Open-Mindedness"],"prefix":"10.22501","author":[{"family":"\u00e7ifel \u00e7ifel","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,4,11]],"date-time":"2026-04-11T20:12:12Z","timestamp":1775938332000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3948027\/3948028"}},"issued":{"date-parts":[[2026,4,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3948027","published":{"date-parts":[[2026,4,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:31:37Z","timestamp":1774445497209,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Fourtoni is an Augmented Reality sculpture that makes use of audience eye tracking data in order to recreate a fourth Triton from the existing three tritons in Vincent Apap\u2019s Triton Fountain located in Triton Square, Valletta. The virtual sculpture was launched on an Android platform on the 28th of September 2018 as part of the Science in the City Festival 2018. Fourtoni is a collaboration between Matthew Attard and Matthew Galea from the Department of Digital Arts, together with Dr Vanessa Camilleri from the Department of Artificial Intelligence. The virtual sculpture\u2019s content was driven by research concerning the combination of the cortical homunculus representation of our body in our brain, and eye-tracking results involving free gazing.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4228508","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T11:01:11Z","timestamp":1774436471000},"source":"Crossref","is-referenced-by-count":0,"title":["Fourtoni Project"],"prefix":"10.22501","author":[{"family":"Matthew Galea; Matthew Attard","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T11:01:11Z","timestamp":1774436471000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4228508\/4228509"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4228508","published":{"date-parts":[[2026,3,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,16]],"date-time":"2026-03-16T19:53:55Z","timestamp":1773690835014,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,16]],"date-time":"2026-03-16T00:00:00Z","timestamp":1773619200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this exposition I invite you to reflect on a part of my artistic research: the screen capture.The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production.In this artistic research I also use experimental software and unconventional methods to carry out images from videogames.At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.<\/jats:p>\n keywords: videogames, screen, photography, machinima, copyright, software, web, communities, artist's book, in-game photography, screen photography, database, fair use, AI, capture, digital<\/jats:p>","DOI":"10.22501\/rc.3729293","type":"posted-content","created":{"date-parts":[[2026,3,16]],"date-time":"2026-03-16T19:05:12Z","timestamp":1773687912000},"source":"Crossref","is-referenced-by-count":0,"title":["Capture images through the screen"],"prefix":"10.22501","author":[{"family":"Nicholas Mazzilli","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,16]],"date-time":"2026-03-16T19:05:13Z","timestamp":1773687913000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3729293\/3729294\/350"}},"issued":{"date-parts":[[2026,3,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3729293","published":{"date-parts":[[2026,3,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T07:13:55Z","timestamp":1779174835013,"version":"3.51.4"},"posted":{"date-parts":[[2026,5,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T00:00:00Z","timestamp":1779148800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Full English version of the interview by Gytis Norvilas, conducted in the context of the premiere of The 444th Season for Old Theatre of Vilnius.A shorter version of the interview translated to Lithuanian was published by 15min.lt on 18 May 2026.Premiere: 4 June 2026.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4469780","type":"posted-content","created":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T06:52:38Z","timestamp":1779173558000},"source":"Crossref","is-referenced-by-count":0,"title":["The 444th Season (Interview)"],"prefix":"10.22501","author":[{"family":"vincent roumagnac","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T06:52:38Z","timestamp":1779173558000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4469780\/4469781"}},"issued":{"date-parts":[[2026,5,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4469780","published":{"date-parts":[[2026,5,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T14:04:46Z","timestamp":1779890686523,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T00:00:00Z","timestamp":1779840000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,27]]},"abstract":"This exposition reflects on how machine learning can be integrated with algorithmic composition and live coding to expand digital music creation. The research examines how ML-driven sound analysis, training data, and interactive models reshape compositional workflows. By viewing machine learning as an interpretative and generative process rather than a mere tool, this project challenges conventional boundaries between data gathering, system design, and artistic practice. The discussion is framed through experimental approaches that merge sound synthesis, live coding, and model training, questioning how algorithmic systems can act as both agents of composition and reflective mirrors of musical intention. Through the interplay of structured data, generative models, and exploratory workflows, the study situates machine learning within a broader conversation about creativity, computation, and the evolving role of the composer-programmer.<\/jats:p>\n keywords: machine learning, live coding, sound synthesis, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/koncon.2532879","type":"journal-article","created":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T13:17:01Z","timestamp":1779887821000},"source":"Crossref","is-referenced-by-count":0,"title":["Recomposing Data: Machine Learning as Compositional Process"],"prefix":"10.22501","author":[{"family":"Bjarni Gunnarsson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T13:17:01Z","timestamp":1779887821000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2532879\/2532880"}},"issued":{"date-parts":[[2026,5,27]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2532879","published":{"date-parts":[[2026,5,27]]}},{"indexed":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:13:06Z","timestamp":1779804786149,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"This study examines the emergence of harpsichord idiom between 1600 and 1800, treating idiom not as a fixed stylistic category but as a fluid interaction between instrument, notation, and aesthetic thought. By examining organ and lute traditions, Italian and French performance practices, and later Enlightenment aesthetic debates, the research traces how idiomatic features gradually moved from practical habits to notated and intentional compositional detail. Case studies from various composers illustrate a shift from generic keyboard writing toward instrument-specific composition. The study suggests that idiom should inform performance not as a restrictive rule set, but as a historically rooted framework that can support informed, yet creative interpretation.<\/jats:p>\n keywords: harpsichord, idiom, baroque, classical, instrumental idiom, performance practice, instrumental writing<\/jats:p>","DOI":"10.22501\/koncon.4014498","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:47:28Z","timestamp":1779803248000},"source":"Crossref","is-referenced-by-count":0,"title":["The Emergence of Harpsichord Idiom: Historical Development, Aesthetic Context, and Performance Practice during the Baroque and Early Classical Periods"],"prefix":"10.22501","author":[{"family":"P\u00e9ter Muhari","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:47:28Z","timestamp":1779803248000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4014498\/4014628"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.4014498","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T09:11:21Z","timestamp":1780045881401,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T00:00:00Z","timestamp":1780012800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,29]]},"abstract":"Prototype Staging Listening Research<\/jats:p>\n keywords: Audibility, Acoustic Fiction, Sound and Space, Theatre, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/koncon.3221587","type":"journal-article","created":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T08:26:21Z","timestamp":1780043181000},"source":"Crossref","is-referenced-by-count":0,"title":["Staging Listening"],"prefix":"10.22501","author":[{"family":"Gabriel Paiuk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T08:26:21Z","timestamp":1780043181000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3221587\/3221588"}},"issued":{"date-parts":[[2026,5,29]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3221587","published":{"date-parts":[[2026,5,29]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:21Z","timestamp":1733202801107,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"08","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,12,2]]},"abstract":"yet to come<\/jats:p>","DOI":"10.22501\/jss.109484","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:26Z","timestamp":1733149646000},"source":"Crossref","is-referenced-by-count":0,"title":["Altisonans"],"prefix":"10.22501","author":[{"family":"William Ray Macauley","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:26Z","timestamp":1733149646000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/109484\/109485"}},"issued":{"date-parts":[[2014,12,2]]},"references-count":0,"journal-issue":{"issue":"08"},"URL":"https:\/\/doi.org\/10.22501\/jss.109484","published":{"date-parts":[[2014,12,2]]}},{"institution":[{"name":"Universitetet i Bergen","acronym":["UiB"],"place":["Bergen"],"department":["KMD"]}],"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T05:14:29Z","timestamp":1648790069056},"reference-count":0,"publisher":"Universitetet i Bergen KMD","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/kmd-ar.1197726","type":"report","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:38:36Z","timestamp":1623055116000},"source":"Crossref","is-referenced-by-count":0,"title":["Rehearsing memories - Naming the dead. Performative aspects of political loss"],"prefix":"10.22501","author":[{"given":"Maria","family":"Paschalidou","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,3,1]]},"deposited":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:38:36Z","timestamp":1623055116000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1197726\/1197727"}},"issued":{"date-parts":[[2021,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1197726","published":{"date-parts":[[2021,3,1]]}},{"indexed":{"date-parts":[[2022,11,15]],"date-time":"2022-11-15T06:10:15Z","timestamp":1668492615076},"posted":{"date-parts":[[2022,11,14]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.1809954","type":"posted-content","created":{"date-parts":[[2022,11,14]],"date-time":"2022-11-14T11:43:12Z","timestamp":1668426192000},"source":"Crossref","is-referenced-by-count":0,"title":["Autonym: On the Inner Life of a Stringed Body"],"prefix":"10.22501","author":[{"family":"Jordan Sand","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2022,11,14]],"date-time":"2022-11-14T11:43:12Z","timestamp":1668426192000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1809954\/1809955"}},"issued":{"date-parts":[[2022,11,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1809954","published":{"date-parts":[[2022,11,14]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:21Z","timestamp":1733202801252,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"08","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,12,2]]},"abstract":"In addition to the collection of articles, it is a pleasure to announce a couple of bonus items exclusive to JSS. One is an interview with Douglas Kahn, pre-eminent historian and theorist of the media arts with a particular interest in the study of sound in the avant-garde and experimental arts and music. By good fortune, Kahn\u2019s latest book Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts was published in late 2013 when contributions for the current special issue were under construction. Working independently, both projects \u2013 Earth Sound Earth Signal and JSS8 \u2013 historicize and critically examine sounds of space and this seemed like an excellent reason to strike up a dialogue and learn more about Kahn\u2019s latest book. During the course of the interview multiple points of convergence, intersections, and shared research interests transpired and led to a lively discussion.<\/jats:p>","DOI":"10.22501\/jss.108900","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:01Z","timestamp":1733149621000},"source":"Crossref","is-referenced-by-count":0,"title":["On the Aelectrosonic and Transperception"],"prefix":"10.22501","author":[{"family":"Douglas Kahn","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:02Z","timestamp":1733149622000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/108900\/108901"}},"issued":{"date-parts":[[2014,12,2]]},"references-count":0,"journal-issue":{"issue":"08"},"URL":"https:\/\/doi.org\/10.22501\/jss.108900","published":{"date-parts":[[2014,12,2]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:00Z","timestamp":1733202780577,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,11]]},"abstract":"All over Taiwan, garbage trucks equipped with loudspeakers make their rounds, playing tunes that announce their arrival to the citizens. Designed to reach people's homes at a considerable distance from the stopping points, the two garbage truck tunes thrust themselves onto large swaths of Taiwan's landscape and all of its living inhabitants. According to the author, another species, besides homo sapiens sapiens, has taken notice and musically responded to it. He describes how he witnessed a repetitive sound pattern remarkably similar to a part of a garbage truck melody able to emulate these signals. The melody was collectively executed by a small group of animals he could not see, each producing one not at a time. The author offers a possible candidate, the Brown-Flanked Bush Warbler, and a reconstruction of what he heard. These observations are contextualized within the emerging field of zoomusicology.<\/jats:p>","DOI":"10.22501\/jss.286848","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:04Z","timestamp":1733149624000},"source":"Crossref","is-referenced-by-count":0,"title":["Taiwanese Bush Warblers imitating garbage trucks: a mutual affair?"],"prefix":"10.22501","author":[{"family":"Mark van Tongeren","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:04Z","timestamp":1733149624000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/286848\/286849"}},"issued":{"date-parts":[[2016,7,11]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.286848","published":{"date-parts":[[2016,7,11]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:01Z","timestamp":1733202781483,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"09","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,5,7]]},"abstract":"In this Preludium we clarify the history and scope of The Memory Dealer (TMD), and the methods, ideas, and incentives behind the research presented in the current volume. As a new experimental, \u201cpervasive\u201d drama that exploits digital and personal technologies to create fictional narratives that are then layered onto real world spaces, TMD introduces new possibilities both for storytelling and for the positioning of the audience. As the articles in this volume bear witness to, TMD can be thought of as a new kind of \u201csound narrative\u201d; what remains the most direct experience of the drama is undoubtedly the soundtrack. As a novel soundworld prompting new responses \u2013 responses that can be explored and analyzed \u2013 TMD is a rare form of documentation that offers fertile ground for exploration.<\/jats:p>","DOI":"10.22501\/jss.149106","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:28Z","timestamp":1733149648000},"source":"Crossref","is-referenced-by-count":0,"title":["Preludium: The Memory Dealer"],"prefix":"10.22501","author":[{"family":"Nanette Nielsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Elizabeth Evans","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:28Z","timestamp":1733149648000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/149106\/149107"}},"issued":{"date-parts":[[2015,5,7]]},"references-count":0,"journal-issue":{"issue":"09"},"URL":"https:\/\/doi.org\/10.22501\/jss.149106","published":{"date-parts":[[2015,5,7]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:05Z","timestamp":1733202785347,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,10]]},"abstract":"Urban soundscapes convey the cultural codes, history and collective memory of a society. Bangkok and Hong Kong are two open societies in Southeast Asia, within which local and imported auditory cultures co-exist, correlating to the demographics, cultural heritage, and recent geopolitical, economic and social transformations. Nevertheless, studies of their distinctive sonic phenomena are underrepresented in the field of sound studies. Encompassing street music, ritual activities, boxing matches, fresh produce markets, shopping arcades, commuting systems and various public spaces in Bangkok and Hong Kong, this article introduces case studies and contextualizes some distinct urban soundscapes, employing first-hand audio footage, as an initial pathway for building an auditory acquaintance with the region.\n\n\u57ce\u5e02\u8072\u666f\u860a\u542b\u793e\u6703\u7684\u6587\u5316\u7b26\u865f\uff0c\u6b77\u53f2\u8207\u96c6\u9ad4\u56de\u61b6\u3002\u66fc\u8c37\u548c\u9999\u6e2f\u4e43\u6771\u5357\u4e9e\u4e4b\u958b\u653e\u57ce\u5e02\uff0c\u5176\u672c\u571f\u8207\u5916\u4f86\u7684\u807d\u89ba\u6587\u5316\u4e26\u5b58\uff0c\u7e6b\u65bc\u65cf\u7fa4\u5206\u4f48\uff0c\u6587\u5316\u50b3\u627f\uff0c\u5730\u7de3\u6b63\u6cbb\uff0c\u793e\u6703\u7d93\u6fdf\u7684\u6f14\u8b8a\u3002\u7136\u800c\uff0c\u8072\u97f3\u7814\u7a76\u66ab\u672a\u5c0d\u6b64\u984c\u76ee\u6709\u5ee3\u6cdb\u6d89\u7375\u3002\u6709\u9451\u65bc\u6b64\uff0c\u672c\u6587\u6536\u7d0d\u5169\u57ce\u5e02\u4e4b\u8857\u982d\u97f3\u6a02\uff0c\u796d\u7940\u6d3b\u52d5\uff0c\u9bae\u6d3b\u5e02\u5834\uff0c\u904b\u8f38\u7cfb\u7d71\uff0c\u5546\u5834\uff0c\u62f3\u8cfd\uff0c\u904b\u8f38\u7cfb\u7d71\uff0c\u516c\u5171\u7a7a\u9593\uff0c\u5c31\u5176\u8072\u666f\u8a2d\u6848\u8003\u5bdf\uff0c\u70ba\u5145\u5be6\u6771\u5357\u4e9e\u4e4b\u807d\u89ba\u667a\u8b58\u5f15\u8def\u3002<\/jats:p>","DOI":"10.22501\/jss.251049","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:34Z","timestamp":1733149654000},"source":"Crossref","is-referenced-by-count":0,"title":["What do the urban soundscapes of a city represent? Case studies in Bangkok and Hong Kong \uff0f \u90fd\u5e02\u8072\u97f3\u6709\u4f55\u500b\u6027\uff1f \u8003\u5bdf\u66fc\u8c37\u548c\u9999\u6e2f\u4e4b\u57ce\u5e02\u8072\u666f"],"prefix":"10.22501","author":[{"family":"KA HO CHEUNG","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Marcel Cobussen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:34Z","timestamp":1733149654000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/251049\/251050"}},"issued":{"date-parts":[[2016,7,10]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.251049","published":{"date-parts":[[2016,7,10]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:09Z","timestamp":1733202789386,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,11,2]]},"abstract":"In multistory housing, sounds occasionally penetrate the walls and floors separating apartments. It may seem like this is a one-way flow of acoustic waves moving through built material from one inhabitant to another. In this article, I show that acoustic waves passing among apartments often move in more ways than just through built material. I propose a conceptualization of the auditory connection between neighbors as sonic relations that consist not only of concrete sounds but also of a range of abstract emotional layers, elements of personal histories, and interpersonal conflicts. Through an exploration of the accounts of two neighbors living in an early 20th-century building in Copenhagen, I show how the sonic relation between them can be understood as interfering in the domestic-personal spheres that shape both of them.<\/jats:p>","DOI":"10.22501\/jss.1406993","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:26Z","timestamp":1733149526000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonic Relations as Bulging Spheres"],"prefix":"10.22501","author":[{"family":"Sandra Lori Petersen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:26Z","timestamp":1733149526000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1406993\/1406994"}},"issued":{"date-parts":[[2021,11,2]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jss.1406993","published":{"date-parts":[[2021,11,2]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:09Z","timestamp":1733202789498,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,7,4]]},"abstract":"My sonic work \u201cCity Noise\u201d proposes both an artistic and a theoretical approach to the city-sound relationship. The default assumption about this relationship is that sounds reflect a one-to-one relationship between soundscape and landscape, both drawing upon and revealing the physical and social landscapes from which they originate. However, the question can be posed regarding whether there actually is a direct relationship between sound and place in our increasingly globalized world. Due to this globalization, the relation between the local and the global has become more fluid, and the relation between sounds and scapes has begun to blur.<\/jats:p>","DOI":"10.22501\/jss.369776","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:31Z","timestamp":1733149651000},"source":"Crossref","is-referenced-by-count":0,"title":["\u201cCity Noise\u201d: Sound (Art) and Disaster"],"prefix":"10.22501","author":[{"family":"Frans Ari Prasetyo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:32Z","timestamp":1733149652000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/369776\/369777"}},"issued":{"date-parts":[[2017,7,4]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jss.369776","published":{"date-parts":[[2017,7,4]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:09Z","timestamp":1733202789520,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,7,4]]},"abstract":"This soundscape and accompanying essay explore the listened-to world of white nationalists protesting a 2015 civil rights rally in the United States. Marked by countless instances of police brutality and a racially motivated mass shooting, the autumn months of 2015 echoed with the rallying cries of Black Lives Matter\u2026 cries that stoked white nationalists\u2019 nascent conspiracy theories about white genocide and an impending \u201crace war\u201d between black Islam and white Christendom. Both the new Civil Rights movement and these white nationalist fears came to a head at the Justice or Else Rally in October 2015. This essay explores the acoustemological \u2013 acoustic and epistemological \u2013 world of white nationalists protesting Justice or Else, using the nexus of creativity and empiricism to understand a white nationalist standpoint acoustemology proliferating in Donald Trump\u2019s United States.<\/jats:p>","DOI":"10.22501\/jss.375960","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:32Z","timestamp":1733149652000},"source":"Crossref","is-referenced-by-count":0,"title":["Listening like White Nationalists at a Civil Rights Rally"],"prefix":"10.22501","author":[{"family":"Bryce Peake","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:32Z","timestamp":1733149652000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/375960\/375961"}},"issued":{"date-parts":[[2017,7,4]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jss.375960","published":{"date-parts":[[2017,7,4]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:12Z","timestamp":1733202792438,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Auditory display is concerned with the use of non-speech sound to communicate information. If the term seems at first oxymoronic, then consider auditory display as an activity of perceptualization, that is, the process of making perceptible to humans aspects or features of a given data set or system. Most commonly this is done using visual representations (which process we call visualization) but it is not limited to the visual channel, and recent years have witnessed the increased use of auditory representations in the production of tools for exploring data. By way of semiotics and an aesthetic perspective shift, this article posits that auditory display may be considered a form of organized sound and explores the listening experience in this context.<\/jats:p>","DOI":"10.22501\/jss.263480","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:07Z","timestamp":1733149567000},"source":"Crossref","is-referenced-by-count":0,"title":["Ways of Listening and Modes of Being: Electroacoustic Auditory Display"],"prefix":"10.22501","author":[{"family":"Paul Vickers","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:08Z","timestamp":1733149568000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/263480\/263481"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/jss.263480","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T07:40:21Z","timestamp":1741246821142,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T00:00:00Z","timestamp":1741219200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Pourquoi commander un nouveau Star Wars \u00e9tait-il n\u00e9cessaire?<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3498865","type":"posted-content","created":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T07:18:19Z","timestamp":1741245499000},"source":"Crossref","is-referenced-by-count":0,"title":["Politique de Star Wars"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T07:18:19Z","timestamp":1741245499000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3498865\/3498864"}},"issued":{"date-parts":[[2025,3,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3498865","published":{"date-parts":[[2025,3,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:40:32Z","timestamp":1741333232276,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Sosial keramikk er kopper, beholdere og tallerkener som er laget av bl\u00e5leire og brunleire fra leirelandskaper jeg har jobbet i som en del av prosjektet Jording med (bl\u00e5)leire.<\/jats:p>\n keywords: sendstad, bl\u00e5leire, murstein, tegl, sendstad teglverk, kunstnerisk forskning, 3D scanning, 3D printing, clay, brick, blueclay, sendstad brickfactory, artistic resaerch, brick industry, teglindustri, teglhistorie, brick history<\/jats:p>","DOI":"10.22501\/rc.2997918","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:06:13Z","timestamp":1741331173000},"source":"Crossref","is-referenced-by-count":0,"title":["Sosial keramikk"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:06:13Z","timestamp":1741331173000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2997918\/2997781"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2997918","published":{"date-parts":[[2025,3,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2022,4,5]],"date-time":"2022-04-05T22:33:26Z","timestamp":1649198006436},"posted":{"date-parts":[[2020,2,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.299217","type":"posted-content","created":{"date-parts":[[2020,2,2]],"date-time":"2020-02-02T10:15:37Z","timestamp":1580638537000},"source":"Crossref","is-referenced-by-count":0,"title":["You and Me and Everything Around Us"],"prefix":"10.22501","author":[{"family":"Betty Nigianni","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2020,2,2]],"date-time":"2020-02-02T10:15:38Z","timestamp":1580638538000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/299217\/299218"}},"issued":{"date-parts":[[2020,2,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.299217","published":{"date-parts":[[2020,2,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:23Z","timestamp":1727238623840},"posted":{"date-parts":[[2018,6,7]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u2018Gatherings\u2019 are the second level of operation of the doctoral study \u2018Architecting Bodies by Immersive Gestures\u2019. The first level of operation is called \u2018responsive walking\u2019 and is of direct embodied immersion of the author\/learner\u2019s 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 \u2013 that are so readily present when sense-making is discursively elaborated \u2013 the notion of \u2018pregnantness\u2019 and the notion of a \u2018propelling hypothesis\u2019 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 \u2018pregnantness\u2019 and follow the \u2018propelling hypothesis\u2019, 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.<\/jats:p>","DOI":"10.22501\/rc.465010","type":"posted-content","created":{"date-parts":[[2018,6,7]],"date-time":"2018-06-07T07:54:36Z","timestamp":1528358076000},"source":"Crossref","is-referenced-by-count":0,"title":["Gatherings"],"prefix":"10.22501","author":[{"family":"Annelies, Alice De Smet","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:22Z","timestamp":1727192962000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/465010\/465011"}},"issued":{"date-parts":[[2018,6,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.465010","published":{"date-parts":[[2018,6,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:25Z","timestamp":1727238625913},"posted":{"date-parts":[[2014,8,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"What is the relation between Folk Music and Classical Western Music? How does classical composers get feedback from folk music? How do they use that feedback in their composition?<\/jats:p>","DOI":"10.22501\/rc.31286","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:54:53Z","timestamp":1498067693000},"source":"Crossref","is-referenced-by-count":0,"title":["Folk Music and Classical Western Music"],"prefix":"10.22501","author":[{"family":"Aktas Fatih Erdogan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:25Z","timestamp":1727193025000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/31286\/31287"}},"issued":{"date-parts":[[2014,8,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.31286","published":{"date-parts":[[2014,8,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407372,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0076","type":"journal-article","created":{"date-parts":[[2024,12,29]],"date-time":"2024-12-29T18:02:08Z","timestamp":1735495328000},"source":"Crossref","is-referenced-by-count":0,"title":["Un campo constelado"],"prefix":"10.22501","author":[{"given":"Eduardo","family":"Molinari","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:45Z","timestamp":1742292225000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/un-campo-constelado"}},"issued":{"date-parts":[[2024]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0076","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407728,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0017","type":"journal-article","created":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T09:04:23Z","timestamp":1561712663000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Johanna Schindler, \"Subjectivity and Synchrony in Artistic Research: Ethnographic Insights, Culture and Social Practice\""],"prefix":"10.22501","author":[{"given":"Manuel","family":"\u00c1ngel Mac\u00eda","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,6,23]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:54Z","timestamp":1742292174000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-johanna-schindler-subjectivity-and-synchrony-artistic-research-ethnographic-insights-culture"}},"issued":{"date-parts":[[2019,6,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0017","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,6,23]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:10Z","timestamp":1742294410486,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0068","type":"journal-article","created":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T08:48:09Z","timestamp":1721033289000},"source":"Crossref","is-referenced-by-count":0,"title":["Directions for SAR"],"prefix":"10.22501","author":[{"given":"Esa","family":"Kirkkopelto","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024,7,5]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:35Z","timestamp":1742292215000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/directions-sar"}},"issued":{"date-parts":[[2024,7,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0068","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024,7,5]]}},{"indexed":{"date-parts":[[2025,3,2]],"date-time":"2025-03-02T05:53:57Z","timestamp":1740894837633,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T00:00:00Z","timestamp":1740787200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Cet article s\u2019appuie sur une approche psychanalytique et culturelle des id\u00e9ologies et de l\u2019\u00e9conomie-politique dans les constructions de v\u00e9rit\u00e9 et les r\u00e9cits autour des lieux et des \u00e9v\u00e9nements concernant les identit\u00e9s ethniques, religieuses et nationales, et propose une opinion interdisciplinaire sur les r\u00e9cits de v\u00e9rit\u00e9 des psycho-r\u00e9alit\u00e9s culturelles form\u00e9es autour des parcs, des lieux monumentaux et des g\u00e9nocides en Turquie. Cette opinion porte sur le complexe, le concours du profane et du sacr\u00e9, pour lequel l\u2019article pr\u00e9sente une interpr\u00e9tation d\u00e9taill\u00e9e du mat\u00e9riel\/mondain et du religieux\/au-del\u00e0. Les sympt\u00f4mes dans les lieux monumentaux en Turquie, parc culturel \u00e0 Izmir et Parc Gezi et Sainte-Sophie \u00e0 Istanbul, r\u00e9v\u00e8lent les mythes inhabituels encod\u00e9s dans ces lieux, g\u00e9nocides, complexes et leurs liens avec les textes culturels d\u2019aujourd\u2019hui. Le r\u00e9seau de la r\u00e9alit\u00e9 informe les sympt\u00f4mes conscients et inconscients autour des parcs, des mus\u00e9es, des places ou des lieux monumentaux en Turquie et au-del\u00e0.<\/jats:p>\n keywords: Turquie, complexes psychanalytiques<\/jats:p>","DOI":"10.22501\/rc.3462901","type":"posted-content","created":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T18:46:51Z","timestamp":1740854811000},"source":"Crossref","is-referenced-by-count":0,"title":["Concours entre la S\u00e9culaire et le Sacr\u00e9 dans le Patrimoine Culturel en Turquie"],"prefix":"10.22501","author":[{"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T18:46:52Z","timestamp":1740854812000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3462901\/3462900"}},"issued":{"date-parts":[[2025,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3462901","published":{"date-parts":[[2025,3,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,1,23]],"date-time":"2025-01-23T05:24:30Z","timestamp":1737609870222,"version":"3.33.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,1,22]]},"abstract":"This exposition documents the doctoral dissertation \u201cA performative approach to wool felting : Rhizomatic relations in visual arts making and art education\u201d from the University of Agder, Faculty of Fine Arts, 2023.\n\nThe exposition consists of a PDF of the printed dissertation and a list of the media (film or sound) that is part of the dissertation.\n\nAs the first combined dissertation in Fine Arts with the specialisation Arts in context submitted to the University of Agder, comprising artistic and scientific works, this research evolves between artistic and written acts. It is a performative exploration of a performative approach to the ancestral technique of wool felting. The dissertation includes six explorations: three public exhibitions, three articles, and a 7th element consisting of a series of ongoing \u2018minor\u2019 moments related to the topic of the thesis that I carry out in my everyday practices as an artist, teacher and researcher. Alongside with that, I provide a mantle that is a metatext of the dissertation. In dialogue with the works of Deleuze and Guattari (1980) and Barad (2007), I use concepts that denote a theoretical and philosophical position inspired by an ontology of immanence and agential realism. The pedagogical stance of this research acknowledges Atkinson\u2019s (2015) ideas on the adventure of pedagogy that brings forward the notion of the \u2018not-known\u2019.\n\nThe rhizomatic network connecting the seven explorations is transmitted through four interconnected parts that I call \u2018strata\u2019, which is in accordance with my research design. A diffractive reading of the explorations suggests a performative pedagogy that actualises questions related to artistic, pedagogical, and research practices. It underlines the emerging knowledge creation in situ as not-isolated and not pre-existing entities and\/or thoughts.\n\nMoving between the de-stabilisation\u2013re-stabilisation, de-forming\u2013reforming, and de-territorialisation\u2013re-territorialisation of my practices brings a fruitful in-coherence. My doubts, interrogations, and experimentations might affect the reader, and provoke new thoughts. The mapping of my explorations can create resonance in readers, also in their own contexts \u2013 being similar or different. Maybe this could inspire more persons to explore further how one could teach, not only how one should teach.\n\nThis dissertation is dedicated to those that doubt and ask questions, but also to those that work with certainty, in artistic, pedagogical, and\/or research contexts.<\/jats:p>","DOI":"10.22501\/uia.3306839","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T14:05:46Z","timestamp":1737554746000},"source":"Crossref","is-referenced-by-count":0,"title":["A performative approach to wool felting : Rhizomatic relations in visual arts making and art education"],"prefix":"10.22501","author":[{"family":"Samira Jamouchi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T14:05:47Z","timestamp":1737554747000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3306839\/3306838"}},"issued":{"date-parts":[[2025,1,22]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/uia.3306839","published":{"date-parts":[[2025,1,22]]}},{"indexed":{"date-parts":[[2024,12,28]],"date-time":"2024-12-28T13:10:34Z","timestamp":1735391434821,"version":"3.32.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"34","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,12,28]]},"abstract":"Agential Guts was an artistic multispecies practice of care; a messy entanglement with goats, soils, microbial companions, and gardening activities. The concern over biodiversity loss and many ecological crises caused by traditional farming led me to learn about alternative soil care and goat-keeping and to invent new modes of relating and caring in a multispecies context. The fieldwork drew from rewilding practices that strive to create biodiverse conditions. Configuring the meanings of multispecies assemblage beyond instrumentalising governance of different species, I followed what I called microbial desires in our relational enactments envisioning microbial and mammalian companionship from the more-than-human standpoint. My kin-making was my object of study from an academic perspective but the companion animals and microbes, soils, and plants were collaborators from the artistic point of view. The premises of new materialist and post-anthropocentric relational ontologies were embodied in our practice, where the matter was perceived as intelligent and affective, and thus able to lead to sources of novel ethical thinking-doing and art. I drew from the arts of noticing and considering collaboration as contamination (Tsing 2015) with messy, microbially saturated milieu. Acknowledging how scientific knowledge is always shaping our affective encounters, I also tried to speculate with what we know about microbes leaking between different bodies. In producing a situated knowledge platform, Agential Guts contributed to both art-based research and social studies of microbes by introducing a speculative and embodied way to create knowledge together with nonhumans.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n<a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&amp;file=3307180\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.2128308","type":"journal-article","created":{"date-parts":[[2024,12,27]],"date-time":"2024-12-27T16:50:01Z","timestamp":1735318201000},"source":"Crossref","is-referenced-by-count":0,"title":["Agential Guts \u2014 Care and Creativity within the Messy Multi-species Assemblage"],"prefix":"10.22501","author":[{"family":"Riina Maaria Hentriika Hannula","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,12,28]],"date-time":"2024-12-28T12:50:26Z","timestamp":1735390226000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2128308\/3223379"}},"issued":{"date-parts":[[2024,12,28]]},"references-count":0,"journal-issue":{"issue":"34"},"URL":"https:\/\/doi.org\/10.22501\/jar.2128308","published":{"date-parts":[[2024,12,28]]}},{"indexed":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T21:40:16Z","timestamp":1737495616514,"version":"3.33.0"},"posted":{"date-parts":[[2025,1,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"How to Make Someone Important is a performative video piece centred around the Importance Booster Medal, created for the Tactilite exhibition at Hobusepea Gallery in 2021.\n\nThe work delves into pseudomagic through symbolic rituals and sensory interactions. Seraphita intentionally trivialises the act of recognition: a person\u2019s sense of importance is heightened when presented with a medal of merit.\n\nEmploying Haptic Visuality, this multisensory approach weaves together emotional resonance and speculative ritual, reimagining connection within a pseudomagical framework.\n\nIdea and performance: Darja Popolitova\nVideo effects: Jakob Tulve\nSound: Andres N\u00f5lvak\n\n\n\u00a9 Darja Popolitova<\/jats:p>","DOI":"10.22501\/rc.3353086","type":"posted-content","created":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T21:07:39Z","timestamp":1737493659000},"source":"Crossref","is-referenced-by-count":0,"title":["How to Make Someone Important"],"prefix":"10.22501","author":[{"family":"Jewellery witch Seraphita","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T21:07:39Z","timestamp":1737493659000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3353086\/3353087"}},"issued":{"date-parts":[[2025,1,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3353086","published":{"date-parts":[[2025,1,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670455},"posted":{"date-parts":[[2019,11,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Genetic signs of domestication of plants and animals date as far back as the oldest known evidence for other artistic expressions like painting, music and sculpture. Breeding is often seen as a science or a craft and is rarely considered art. The Bifrost art project aims to combine the spectacular bark and growth rate of the rainbow gum Eucalyptus deglupta with the cold hardiness of the cider gum Eucalyptus gunnii and possibly other cold-hardy species. The cold hardiness introgression should make it possible to grow amazing rainbow-colored trees in a European or North American climate. The project has been initiated and is expected to continue for decades or centuries in a distributed, participatory, manner. The project explores breeding as an art form, and through extension landscape and ecosystem manipulations that may last beyond the time when human kind has driven itself to its extinction. The project also questions commonly held beliefs about \u201cpristine\u201d and \u201cnatural\u201d as being better than \u201cartificial\u201d and \u201canthropogenic\u201d.<\/jats:p>","DOI":"10.22501\/rc.392580","type":"posted-content","created":{"date-parts":[[2019,11,9]],"date-time":"2019-11-09T08:24:10Z","timestamp":1573287850000},"source":"Crossref","is-referenced-by-count":0,"title":["Artistic research in breeding : The Bifrost Eucalyptus project"],"prefix":"10.22501","author":[{"family":"Jens Staal","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:52Z","timestamp":1727192932000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/392580\/392581"}},"issued":{"date-parts":[[2019,11,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.392580","published":{"date-parts":[[2019,11,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670779},"posted":{"date-parts":[[2018,4,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exhibition displays five projects inspired by the Kokem\u00e4enjoki river in Pori and the phenomena of urban fishing. They were created during the \u201cSituated Urban\u201d course at Aalto ARTS, while actively exploring the river and reflecting about the stories around it. Each project looks at the river and fishing from different angles, merging physical, personal and social dimensions via artistic approaches.\n\nArtists:\nAnastasia Artemeva\nAnna Kholina\nCharli Clark\nPetra Martinez\nJaakko Leeve\nMartin Binder\n\nCurators:\nTaina Rajanti\nAnnette Maechtel<\/jats:p>","DOI":"10.22501\/rc.140073","type":"posted-content","created":{"date-parts":[[2018,4,5]],"date-time":"2018-04-05T10:09:06Z","timestamp":1522922946000},"source":"Crossref","is-referenced-by-count":0,"title":["Urban fishing"],"prefix":"10.22501","author":[{"family":"Anna Kholina","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:28Z","timestamp":1727192968000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/140073\/140074"}},"issued":{"date-parts":[[2018,4,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.140073","published":{"date-parts":[[2018,4,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:28Z","timestamp":1727238628282},"posted":{"date-parts":[[2020,7,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This thesis will focus on the possibilities of the upright bass as a chord instrument in the genre of composed music. The author will in particular delve into the natural harmonic spectra of the upright bass, utilizing harmonics to create scales and chords in the hopes of discovering ways to seamlessly blend traditional pizzicato playing with harmonics, thus \"unlocking\" new ways of approaching the upright bass as an ensemble- or indeed a soloinstrument.<\/jats:p>","DOI":"10.22501\/rc.683759","type":"posted-content","created":{"date-parts":[[2020,7,1]],"date-time":"2020-07-01T20:14:59Z","timestamp":1593634499000},"source":"Crossref","is-referenced-by-count":0,"title":["The hidden voices of the upright bass"],"prefix":"10.22501","author":[{"family":"Bj\u00f6rn Daniel Rasmus Andersson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:09Z","timestamp":1727192889000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/683759\/683760"}},"issued":{"date-parts":[[2020,7,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.683759","published":{"date-parts":[[2020,7,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:01Z","timestamp":1727194201727},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,12,30]]},"abstract":"This exposition combines image, text, and video to provide an overview of my artistic research, which focuses on the embodied experience of art-making in relation to the everyday. Equipped with the notions of a line and a circle, I explore the connections and overlaps between art and life through a multi-disciplinary art practice that combines installation, sculpture, drawing, performance, and video, and merges this with everyday experiences, mainly cleaning, one of the more mundane aspects of everyday life. In this work, I am accompanied by three imaginary friends, who are also artists. We find ourselves constantly crossing the lines between art, art-making, and everyday life as we move between our roles and various places of work, such as home, university, library, and studio. We dip into the everyday for materials, tools, and techniques, and work in the manner of a bricoleuse, using a \u2018make do\u2019 approach and \u2018what is at hand\u2019. Along the way, we ponder the specialness of art, especially from the perspective of an artist for whom art and art-making are a part of the everyday and therefore quite un-special. As we puzzle over the distinctions of whether something is practical or impractical, useful or useless, art or non-art, mundane or special, we end up blurring the borders to discover an approach that attempts to dispense with the idea of boundaries and binaries altogether.<\/jats:p>","DOI":"10.22501\/jar.887950","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T10:23:23Z","timestamp":1640859803000},"source":"Crossref","is-referenced-by-count":0,"title":["Cleaning in progress: the line between art and life"],"prefix":"10.22501","author":[{"family":"Ulvi Haagensen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:53Z","timestamp":1727193113000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/887950\/887951"}},"issued":{"date-parts":[[2021,12,30]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jar.887950","published":{"date-parts":[[2021,12,30]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:01Z","timestamp":1727194201896},"reference-count":0,"publisher":"Society for Artistic Research","issue":"30","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,10,24]]},"abstract":"This exposition is based on an archaeological survey in the landscapes around Kilmartin Glen, Argyll and Bute, western Scotland, and references digital datasets \u2013 archaeological reference points \u2013alongside the acts (enactments) of field walking, photography, drawing and poetry \u2013 experiences and representational discourses \u2013 to consider how land and landscapes may be read as dynamic palimpsestic and multi-dimensional fields of entanglement.\nDigital datasets were used by the survey to garner fruitful material to aid identification and to analyse (subtle) surface archaeological remains in the inhospitable terrain on the hills bordering Kilmartin Glen. By analysing, categorising and archiving such information, through naming and cataloguing, archaeological methodology effectively orders and tames such wildernesses. We, by contrast, are seeking to draw art and archaeological practices into dialogue with one another in order to assert the importance of recording experiences and random acts as a part of field research and, thereby, to both re-vivify and re-wild our encounters with landscape. \nOur exposition, and shared practices, intentionally encourage nuances of reading and interpretation that are found at the dialogic intersection between an artist\/poet encountering archaeological landscape survey, and an archaeologist experiencing artistic, poetic and linguistic readings of land: reflecting in the process upon contemporary methodologies and underlying theoretical discourses. As such this research sits within the wider contemporary turn towards interdisciplinary practice, and seeks to establish a dialogue across disciplines; between humans and landscapes, practice and matter, that provides emerging approaches and hopes to remind us of the wild experience.<\/jats:p>","DOI":"10.22501\/jar.1251029","type":"journal-article","created":{"date-parts":[[2023,10,24]],"date-time":"2023-10-24T14:03:46Z","timestamp":1698156226000},"source":"Crossref","is-referenced-by-count":0,"title":["CRITICAL CONFABULATIONS \u2013 Corresponding Practices and Mappings"],"prefix":"10.22501","author":[{"family":"Jim Harold","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Alex Hale","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:23Z","timestamp":1727193083000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1251029\/2310585"}},"issued":{"date-parts":[[2023,10,24]]},"references-count":0,"journal-issue":{"issue":"30"},"URL":"https:\/\/doi.org\/10.22501\/jar.1251029","published":{"date-parts":[[2023,10,24]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202005},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2013,6,18]]},"abstract":"During 2011-2012, I joined Virginia Commonwealth University\u2019s Art and Design School in Qatar, a small country diplomatically and culturally important in bridging eastern and western cultures. There, my daily interactions with students naturally stimulated many questions of how a visual culture can lay the groundwork for better understanding between people of different nationalities. If asked to be mediators or interpreters or agents of culture in our globalized context, what would these young artists seek to convey? In turn, what narratives could I draw forth to contribute to a fuller understanding of those living and working in Qatar? I decided to pursue answers to my conundrum in conjunction with my students.<\/jats:p>","DOI":"10.22501\/jar.23593","type":"journal-article","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T22:36:42Z","timestamp":1497998202000},"source":"Crossref","is-referenced-by-count":0,"title":["Doha"],"prefix":"10.22501","author":[{"family":"Miriam Ewers","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:04Z","timestamp":1727193244000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/23593\/45794"}},"issued":{"date-parts":[[2013,6,18]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/jar.23593","published":{"date-parts":[[2013,6,18]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202630},"posted":{"date-parts":[[2023,12,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This project is part of the bigger project \"Autistiskt skrivande. Ett modersm\u00e5l \/ Autistic Writing. A Mother Tongue\", funded by Vetenskapsr\u00e5det. The bigger project aims to investigate neuroqueer, and specifically autistic ways of using language. Melanie Yergeau use the term \"neuroqueer\" to point to the \"sidling, desiring, idealizing\" aspects of being of a neurofunction set apart from the neurotypical norm. This article is a collaborative piece of writing, created as a poetic research method in how rhetorics are used to inform and create oppressive as well as empowering games of language. Julia Miele Rodas calls it an Autistic Poetics, a way of living with words that exceeds the communicative aspect and leaks into the a(u\/r)tistic mind. This text was written as a letter correspondence, a love act, and a curious performance. It is based in a neuromixed research environment and investigates the poetic mode of writing as a platform for further understanding. \n\nAbout the autors:\nHanna Bertilsdotter Rosqvist is an Associate Professor in Sociology and currently a Senior Lecturer in Social work at S\u00f6dert\u00f6rn University. Their research is primary oriented towards disability, but also on gender, sexuality and space\nElisabeth Hjorth is an author, essayist and Senior Lecturer in Literary Composition at Gothenburg University. Their latest publication was Mutant (Gl\u00e4nta, 2021)\nAnna Nygren is an author, dramaturgue and Lecturer in Literary Composition at Gothenburg University. Their latest publication was Fuck Your Marsvin And D\u00f6 (Poesiwerken, 2021)<\/jats:p>","DOI":"10.22501\/rc.1706699","type":"posted-content","created":{"date-parts":[[2023,12,22]],"date-time":"2023-12-22T08:32:20Z","timestamp":1703233940000},"source":"Crossref","is-referenced-by-count":0,"title":["Rules for the Rigorous"],"prefix":"10.22501","author":[{"family":"Anna Nygren","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:55Z","timestamp":1727192515000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1706699\/1706698"}},"issued":{"date-parts":[[2023,12,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1706699","published":{"date-parts":[[2023,12,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:03Z","timestamp":1727194203780},"posted":{"date-parts":[[2022,11,12]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exhibition is a collection of the past work leading to Hubert's latest movement research: \u201cI\u2019ll make a sweater out of this, I swear\u201d. His researches are centered around entanglement and the diffraction of Quebec\u2019s colonial history as well as the navigation in familial lineage. This exhibition shows the process of unbecoming and of mixing and knitting oneself with others\u2019 tread.<\/jats:p>","DOI":"10.22501\/rc.1787781","type":"posted-content","created":{"date-parts":[[2022,11,12]],"date-time":"2022-11-12T15:22:34Z","timestamp":1668266554000},"source":"Crossref","is-referenced-by-count":0,"title":["I'll make a sweater out of this, I swear"],"prefix":"10.22501","author":[{"family":"Hubert Th\u00e9riault","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:43:54Z","timestamp":1727192634000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1787781\/1787782"}},"issued":{"date-parts":[[2022,11,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1787781","published":{"date-parts":[[2022,11,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:08Z","timestamp":1727194208125},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,7,13]]},"abstract":"This research began with the realization that Schumann's idea of \"humor\" (which the title of his work implies) might be very different from our own, and should be understood within the cultural and philosophical context of his time.\nTo this end, I decided to base my research on the writings of celebrated author Jean Paul Richter, whom Schumann idolized, and who devoted a large section of his \"Introduction to Aesthetics\" to the subject of humor; the profound psychological connections between Schumann and Jean Paul, which I point out, are also very revealing.\nI went on to summarize some concepts within Jean Paul's definition of humor which seemed the most naturally analogous with the act of musical interpretation, such as romantic irony, \"the Absurd\" and \"humorous sensuousness\". In the final part of the research I put these ideas to use by experimenting with the interpretation of different sections of the \"Humoreske\"; in the written exposition I provided recordings to demonstrate the different possibilities which arise from this analogy, as well as a written explanation of the thought process behind each one. For the presentation I will demonstrate this at the piano.\nThese recordings are the \"final\" result of my research in the sense that they represent a clear answer to the research question. However, while the process of conscious experimentation was illuminating- and can be repeated with any other work by the composer!- I believe that the most important result of this research would be impossible to document or present here: that is, the more subtle, subconscious way in which understanding Schumann's connection with the spirit of his time will continue to influence my playing.<\/jats:p>","DOI":"10.22501\/koncon.393773","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:39Z","timestamp":1725921399000},"source":"Crossref","is-referenced-by-count":0,"title":["Interpretation of Schumann's 'Humoreske' in B flat major, op. 20, within the context of Jean Paul Richter's romantic concept of 'humor'"],"prefix":"10.22501","author":[{"family":"Elisha Kravits","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:14Z","timestamp":1727193314000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/393773\/580862"}},"issued":{"date-parts":[[2023,7,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.393773","published":{"date-parts":[[2023,7,13]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:10Z","timestamp":1727194210711},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,16]]},"abstract":"An overabundance of mental distractions may prevent musicians\u2019 minds from being in the moment while practicing. The present mixed-methods study examined the effects of three newly designed mindfulness meditations on six conservatory violinists\u2019 levels of dispositional mindfulness, mind-wandering and respective variables. Thought probes were used before and after the intervention to examine frequency of mind-wandering and contextual variables (task difficulty, fatigue and stress, and motivation) during two hours of participants\u2019 instrumental practice (one of technical work another of a new piece in their repertoire). FFQM (Five Facet Mindfulness Questionnaire) and MfM (Mindfulness for Musicians) questionnaires were used to measure mindfulness levels before and after the intervention. Interviews and meditation logs were used as qualitative data. Results indicated that all participants became more mindful at the end of the meditation week for all mindfulness\u2019 facets for the FFQM and MfM questionnaires. However, the improvements were particularly noticeable for the \u201cActing with Awareness\u201d and \u201cNon-Judge\u201d facets for the FFQM and for \u201cDescribe\u201d in the MfM. Results showed opposing trends in mind-wandering levels throughout the intervention. That is, some participants showed higher mind-wandering at the post-intervention and others lower. However, contextual variables such as fatigue, motivation or worry, may have also affected how much participants wandered while practicing (e.g. some of them showed more rumination when being more worried and having slept less). Overall, results from the experiment evidenced the importance of including mindfulness in violinists\u2019 daily practice as a useful routine to become more aware and less distracted.<\/jats:p>","DOI":"10.22501\/koncon.1917780","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:29Z","timestamp":1725921449000},"source":"Crossref","is-referenced-by-count":0,"title":["Mindfulness for violinists"],"prefix":"10.22501","author":[{"family":"Sacha Paredes S\u00e1nchez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:31Z","timestamp":1727193331000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1917780\/1971665"}},"issued":{"date-parts":[[2023,5,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1917780","published":{"date-parts":[[2023,5,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:30Z","timestamp":1727238630097},"reference-count":0,"publisher":"Society for Artistic Research","issue":"32","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,7,15]]},"abstract":"'Bummock: Tennyson Research Centre' is an artistic research project involving three artistic researchers: Andrew Bracey, Danica Maier and Sarah Bennett. A bummock is the unseen \u2014 submerged \u2014 part of an iceberg, and comprises the largest volume of ice, compared with the tip \u2014 which is visible above the surface of the water. Likewise, archives hold more items than are commonly viewed or accessed. In Bummock, we choose to bypass the catalogue to engage with materials directly, establishing a 'controlled rummage' method as an alternative approach to standard archive access practice. This iteration of the Bummock project explores, examines, and creates new artistic research from five years of working with the Tennyson Research Centre (TRC), Lincoln, UK.\n\nThis exposition has been collaboratively authored by the three artistic researchers and is structured into two sections. The first, labelled the 'controlled section', serves to introduce the project and its core concerns. The second, referred to as the 'rummage section', provides visitors with the opportunity to navigate their own path through the archival objects from the TRC and the artworks created. Within this section, individual reflections and critical discussions on three themes are presented: our past experiences working with archives, the research journey of the project, and potential future directions stemming from our research. The exposition concludes with a collective summary of findings and a film documenting the project.\n\nThe contribution of this exposition is twofold: first, to unveil and disseminate the artistic research associated with the project, and second, to identify the key benefits that artists can bring to the archive by employing the 'controlled rummage' approach. The intention is to establish a framework that facilitates future use by other archive users.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n\n<a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&file=2936358\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.1576308","type":"journal-article","created":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T10:00:42Z","timestamp":1721037642000},"source":"Crossref","is-referenced-by-count":0,"title":["Controlled Rummage Approaches for Bummock: Tennyson Research Centre"],"prefix":"10.22501","author":[{"family":"Andrew Bracey","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Danica Maier","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Sarah Bennett","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:07Z","timestamp":1727193067000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1576308\/2474387"}},"issued":{"date-parts":[[2024,7,15]]},"references-count":0,"journal-issue":{"issue":"32"},"URL":"https:\/\/doi.org\/10.22501\/jar.1576308","published":{"date-parts":[[2024,7,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:32Z","timestamp":1727238632845},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,10,28]]},"abstract":"This exposition functions as both a visual and poetic essay, and a manifesto for my methodology of \u2018line\u2019. My definition of \u2018line\u2019, defined here as:\n\n\u2018The gestural and abstracting tandem force of drawing-and-writing as a narrative means to express selfhood.\u2019\n\nThe exposition posits the methodology of \u2018line\u2019 as one alternate artistic means to artistically communicate feminine selfhood. The methodology of line works to resist the internalised assignment of feminine voice to a corporeal body.\n\nInstead, \u2018line\u2019 communicates selfhood through poetic means and a sense of fragmented corporeality. Visually, the stark and abstracting nature of the drawn line, and the allegorical, metaphorical nature of writing present an abstracted self that playfully evades full understanding.\n\nThe titling phrase \u2018Little Do They Know\u2019 intones a kind of secret power on behalf of the speaker, and the presence of secret and intricate worlds to which the gaze of the spectator has limited access. It is on this premise which the exposition operates, articulating the presence (in all its anxiety, instability, rage, joy and frustration) of a playful and evasive selfhood that reclaims agency from the spectator\u2019s gaze.<\/jats:p>","DOI":"10.22501\/jar.1120903","type":"journal-article","created":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T09:56:52Z","timestamp":1666951012000},"source":"Crossref","is-referenced-by-count":0,"title":["Little Do They Know"],"prefix":"10.22501","author":[{"family":"Olivia Rowland","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:37Z","timestamp":1727193097000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1120903\/1120904"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jar.1120903","published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:32Z","timestamp":1727238632950},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,4]]},"abstract":"This research investigates the means in which to successfully create an arrangement for a small ensemble, in this case, one with the instrumentation of Prokofiev\u2019s quintet op.39. The approach involved a look into the obstacles and benefits of the instrumentation and how one could overcome and make use of these characteristics. Firstly, the relevance of such a research was discussed, contextualising the importance of arranging in general as well as demonstrating the potential of an uncommon ensemble. A further analysis of the arranging procedure follows, pin-pointing particular methods in creating effective textures, colours and nuances. This looks closely at how an ensemble of musicians can add a depth and conviction to conversational interplay through the subtle use of voice leading and accentuating timbral variety. With such a practical research, audio and visual examples are used to reinforce the analysis, conveying the effectiveness of the multitude of resources used and overall outcome of this arrangement. The research therefore argues the importance of arranging, encouraging musicians to explore repertoire and presenting it in a new light.<\/jats:p>","DOI":"10.22501\/koncon.518601","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:41:22Z","timestamp":1725921682000},"source":"Crossref","is-referenced-by-count":0,"title":["Expanding a Repertoire"],"prefix":"10.22501","author":[{"family":"Louis van der Mespel","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:59Z","timestamp":1727193419000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/518601\/518602"}},"issued":{"date-parts":[[2020,6,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.518601","published":{"date-parts":[[2020,6,4]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:33Z","timestamp":1727238633860},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2012,11,5]]},"abstract":"This work combines the results of an online survey about the experience of acting with interviews of many of the respondents to explore how actors describe the relationship between the character they portray in performance and their non-character selves. It also explores the role of emotion in this relationship.<\/jats:p>","DOI":"10.22501\/jar.15971","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T08:48:40Z","timestamp":1492418920000},"source":"Crossref","is-referenced-by-count":0,"title":["Actor Self vs. Character Self: An Empirical Exploration"],"prefix":"10.22501","author":[{"family":"E. T. Hetzler","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:15Z","timestamp":1727193255000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/15971\/15972"}},"issued":{"date-parts":[[2012,11,5]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/jar.15971","published":{"date-parts":[[2012,11,5]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:38Z","timestamp":1727238638779},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Enrico Ruggieri\n\nMain Subject: Choral Conducting\n\nResearch Supervisors: Charles Toet, Ricardo Bernardes \n\nTitle of Research: The Lamenta\u00e7\u00f5es para a Semana Santa by Jos\u00e9 Joaquim dos Santos and Luciano Xavier dos Santos and the music for two violas, voices concertate and low instruments\n\nResearch Question:\n\nWhat are the main features of the viola in this specific repertoire and consequently, what becomes its main function?\n\nSummary of Results:\n\nIn 18th-century Portugal, a particular instrumental setting was used in the music composed for a specific Roman Catholic rite called the officium tenebrarum, performed during the Holy Week. This particular instrumentation consists of a standard vocal ensemble, 4 voices concertate, accompanied by a group of string instruments: 2 violas, a cello (or 2 celli) and a double bass. Jos\u00e9 Joquim dos Santos and Luciano Xavier dos Santos are the composers who exploited this instrumentation best, covering all the needs for music in the Officium tenebrarum. An analysis of two Lamentations by Jos\u00e9 Joaquim dos Santos and Luciano Xavier dos Santos explores the relation between music and rhetorical tools and how the viola relates to them. Besides being a precious rhetorical tool itself, the analysis discloses that the violas and the low string instruments become a practical replacement for the harmonic instruments. In a liturgy where the organ was officially forbidden there is a need for an instrument or several instruments that could absolve that crucial function. Thanks to his ability in blending with and supporting the voices and, at the same time, respecting the solemnity and the sobriety of the liturgy, the viola became the best organ replacement. \n\nBiography:\n\nEnrico Ruggieri was born in 1982, graduated in piano, studying with Paolo Russo and Rachele Marchegiani. After a Bachelor in Architecture, there followed a Bachelor degree in Choir Conducting from Pescara Conservatory, a Master degree in Choral Music and Choir Conducting in Bologna Conservatory and a Bachelor degree in Choral Conducting from the Royal Conservatoire, The Hague. He has attended masterclasses with many different musicians specialising in choral conducting and Early Music, such as: Tonu Kalijuste, Peter Phillips, David Lawrence, Julian Wilkins, Walter Marzilli, Marco Berrini, Annibale Cetrangolo, Maurizio Less, and vocal technique with: Ghislaine Morgan, Sandro Naglia, Elisa Turl\u00e0 (Voicecraft), Federica Fedele (Alexander Technique). He has conducted many amateur choirs with varied repertoire: church music, folk music, early music, mixed choral repertoire. Presently, he is conducting \u201cLassus Consort\u201d an Early Music vocal ensemble in Amsterdam and the \u201cQuod Libet Kamerkoor\u201d in The Hague.<\/jats:p>","DOI":"10.22501\/koncon.216636","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:45:04Z","timestamp":1725921904000},"source":"Crossref","is-referenced-by-count":0,"title":["The Lamenta\u00e7\u00f5es para a Semana Santa by Jos\u00e9 Joaquim dos Santos and Luciano Xavier dos Santos and the music for two violas, voices concertate and low instruments"],"prefix":"10.22501","author":[{"family":"Enrico Ruggieri","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:43Z","timestamp":1727193463000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/216636\/216637"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.216636","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:40Z","timestamp":1727238640600},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2016,10,3]]},"abstract":"Sosiaalinen muotoilu \u201csocial design\u201d on muutoksen muotoilua. Sosiaalisen muotoilun tavoitteena on k\u00e4ytt\u00e4\u00e4 taiteen ja muotoilun menetelmi\u00e4 el\u00e4m\u00e4n laadun parantamiseen (Papanek 2006). Muutoksen tarve on sis\u00e4\u00e4nkirjoitettu sosiaalisen muotoilun prosessiin. Tavoitteena on p\u00e4\u00e4ty\u00e4 eri tilanteeseen mist\u00e4 l\u00e4hdettiin (Andrews 2011). Sosiaalista muotoilua toteutetaan kehittyviss\u00e4 maissa tai yhteis\u00f6iss\u00e4, jotka ovat syrj\u00e4ytyneet tai syrj\u00e4ytymisvaarassa (Miettinen 2006). T\u00e4m\u00e4 artikkeli pohtii sosiaalisen muotoilun aiheuttamaa muutosta taiteilijassa, tutkijassa ja paikallisessa yhteis\u00f6ss\u00e4. Artikkelin tavoitteena on nostaa esiin sosiaalisen muotoilun aiheuttama muutosprosessi ja sen vaikutukset yhteis\u00f6\u00f6n (Miettinen 2007). Taiteilija tai tutkija el\u00e4\u00e4 muutoksessa mukana ja yritt\u00e4\u00e4 tuoda paikallisille ihmisille edellytyksi\u00e4 tulla toimeen muutoksen keskell\u00e4 Artikkeli nostaa esiin sek\u00e4 moni\u00e4\u00e4nisen kehitt\u00e4mis- ja tutkimusty\u00f6n haasteet ett\u00e4 dialogin, joka tuottaa taidetta, tunnetta, muistoja ja muutosta tekij\u00f6iss\u00e4\u00e4n. Artikkeli kysyy miten sosiaalisesti vastuullisen taiteen ja sosiaalisen muotoilun tekemisen prosessi muuttaa tekij\u00f6it\u00e4\u00e4n ja miten sen kentt\u00e4 muuttuu ja m\u00e4\u00e4rittyy yh\u00e4 uudelleen?\n\nArtikkelin taustalla on taiteilija- ja tutkijaryhm\u00e4n yli vuosikummenen kest\u00e4nyt ty\u00f6skentely afrikkalaisten paikallisten yhteis\u00f6jen parissa. Tutkija- ja taitelijaryhm\u00e4\u00e4 on yhdist\u00e4nyt pyrkimys ja mahdollisuus sosiaaliseen vastuullisuuteen. Projekteista viimeisin on ollut \u201cMy Dream World \u201d \u2013hanke 2013-2015, jonka tavoitteena oli k\u00e4ytt\u00e4\u00e4 palvelumuotoilun menetelmi\u00e4 etel\u00e4-afrikkalaisten ja namibialaisen ty\u00f6tt\u00f6mien nuorten palveluiden kehitt\u00e4misess\u00e4 ja osallistamisessa demokraattisemman ja tasa-arvoisemman yhteiskunnan rakentamiseen (Miettinen et. al 2014). Hanke sai tunnustusta osana Wolrd Design Capital Cape Town 2014 vuoden virallista ohjelmaa. Artikkelin aineistona toimivat projektin aikana dokumentoidut ryhm\u00e4keskustelut, hankkeeseen osallistuneiden nuorten kirjoittamat tarinalliset luotaimet ja kommentit projektista sek\u00e4 osana projektia tuotetut videot, valokuvat ja tekstiiliteokset. Artikkeli keskittyy erityisesti kahden ty\u00f6pajan aineistojen analysointiin. Ty\u00f6paja Namibian Keetmanshoopissa ja ty\u00f6paja Etel\u00e4-Afrikan Kimberleyss\u00e4 San \u2013nuorten kanssa. Projektissa toteutettiin yhteens\u00e4 nelj\u00e4 ty\u00f6pajaa Afrikassa ja yksi ty\u00f6paja Suomessa. Osana projektia toteutettiin my\u00f6s n\u00e4yttelyiden ja flash mob \u2013esitysten sarja Suomessa ja Etel\u00e4-Afrikassa.\n\nArtikkeli aukaisee \u201cMy Dream World\u201d hankkeen kontekstia, johon sosiaalinen muotoilu sijoittuu ja sen haasteita ja mahdollisuuksia taiteilijalle tai tutkijalle. Taiteilija tai tutkija saa yht\u00e4 paljon tutkimuskohteeltaan kuin mit\u00e4 itse pystyy sille antamaan. Artikkelissa pohditaan sosiaalisesti vastuullisen taiteen ja sosiaalisen muotoilun v\u00e4list\u00e4 keskustelua, toimintamalleja ja nimikkeit\u00e4, yhtym\u00e4kohtia ja eroavaisuuksia. Artikkeli nostaa esiin osallistavan ja yhteis\u00f6llisen taiteen nimike-runsauteen. Kentt\u00e4 on niin el\u00e4v\u00e4 ja muutoksessa, ett\u00e4 nimikeetkin syntyv\u00e4t uudelleen.\nArtikkeli tuo esiin paikallisen yhteis\u00f6n, nuorten \u00e4\u00e4net k\u00e4ytt\u00e4m\u00e4ll\u00e4 apuna heid\u00e4n kirjoittamiaan tarinallisia luotaimia ja sankarin matka \u2013videoty\u00f6kalun avulla kulkemaansa tarinallista matkaa. Nuoret kertovat toiveistaan ja unelmistaan sek\u00e4 muutoksen tarpeesta. Sosiaalinen muotoilu ja sosiaalisesti vastuullinen taide mahdollistavat moni\u00e4\u00e4nisen dialogin. T\u00e4m\u00e4n tuloksena syntyy kuvia unelmista ja muutoksesta sek\u00e4 nuoriin ett\u00e4 taiteilijoihin. Artikkeli nostaa esiin kuvia ja videoita, jotka liittyv\u00e4t prosessiin.<\/jats:p>","DOI":"10.22501\/ruu.261804","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:04Z","timestamp":1503649444000},"source":"Crossref","is-referenced-by-count":0,"title":["Sosiaalisen muutoksen muotoilua"],"prefix":"10.22501","author":[{"family":"Satu Miettinen0","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:03:34Z","timestamp":1727193814000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/261804\/261805"}},"issued":{"date-parts":[[2016,10,3]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/ruu.261804","published":{"date-parts":[[2016,10,3]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:43Z","timestamp":1727238643378},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2024,6,7]]},"abstract":"This article provides insight into the choreographic situation LUFTIG, where the idea of air as conveyor of tactile experience is passed on, reworked and performed by children and adults. It examines how shifting the focus from movement language to a distinct expressive idea affects the choreographic process, and looks at how involving young people as choreographers and choreographic material affects the aesthetic experience of the now for artists and audience.\n\nDrawing on Tygstrup's idea of transformative time (2018), Gumbrecht's concept of the broad present (2018) and Taussig's thoughts on the adult's imagination of the child's imagination (2003), the author argues that in performance work where children are both choreographers and choreographic material, the adult\u2019s imagination of the child\u2019s imagination and the actual actions of the physically present child are at the same time mutually dependent on and at odds with each other, leaving the adult teetering on the edge of contemporary reality and primordial retreat.\n\nIn the work proces, the child has a special propensity for easing the work for all which can only be deployed if we are able to circumvent tendencies of mutual projection of imagined imaginations. This requires a singular work process, where we - children and adults alike - can inhabit questions together without relying wholly on our previous knowledge of and experience with known performance parameters.<\/jats:p>","DOI":"10.22501\/hub.2344632","type":"journal-article","created":{"date-parts":[[2024,6,7]],"date-time":"2024-06-07T11:36:58Z","timestamp":1717760218000},"source":"Crossref","is-referenced-by-count":0,"title":["SO MANY FUTURES - aesthetic experience and the now in a performance with and by young people"],"prefix":"10.22501","author":[{"family":"Laura Navndrup Black","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:24Z","timestamp":1727194164000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2344632\/2344633"}},"issued":{"date-parts":[[2024,6,7]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/hub.2344632","published":{"date-parts":[[2024,6,7]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:44Z","timestamp":1727238644654},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,6,26]]},"abstract":"Sophie Luger (Institute of Architecture) and Lenia Mascha (Institute of Architecture) address the increasingly important issue of urban noise pollution. \"SoundCape. Combating Environmental Noise in Urban Areas\" explores how sound and noise prevention can be incorporated into architectural design. To develop building structures for noise control in urban environments, the authors examine contradictory historical approaches from architecture and acoustics to learn about the relation of sound and material. Their approach focuses on geometry; experiments with Chladni patterns show that geometrical and material properties of architectural fa\u00e7ades have an impact on spatial acoustics and result in the design of ornamental elements that can reduce unwanted noise in cities.<\/jats:p>","DOI":"10.22501\/repos.2481777","type":"journal-article","created":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T09:13:48Z","timestamp":1719393228000},"source":"Crossref","is-referenced-by-count":0,"title":["SoundCape. Combating Environmental Noise in Urban Areas"],"prefix":"10.22501","author":[{"family":"Sophie Luger","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Lenia Mascha","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:53Z","timestamp":1727193893000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2481777\/2481778"}},"issued":{"date-parts":[[2024,6,26]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/repos.2481777","published":{"date-parts":[[2024,6,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:46Z","timestamp":1727238646999},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,3,15]]},"abstract":"The Covid-19 pandemic of early 2020 has had a huge and wide-reaching effect. My group made up of four composer-performers called Bastard Assignments was not exempt. We were pulled to continue to make work, the difference now is that we are online at our individual homes and meeting each other on Zoom. Zoom is a company that has been around since 2011 and a lot of us have recently become familiar with it to celebrate birthdays at a distance, catch up with friends, or conduct our business. It was set up by a Chinese computer scientist who only after the ninth attempt at the application secured his visa to live in the USA. Since the beginning of 2020, the worldwide usage of Zoom has risen 67%, its use diversifying from corporate communications to domestic and arts activities. My compositional and performance work with Bastard Assignments is rooted in collaboration, devising, and group creation. It favours memorisation over the use of musical scores, emotional presence over reproducibility. As we take our work together into a purely online workspace, important questions arise. Through a new way of working online, does our adaptability bring about a new form? How will we understand this online work when and if normalcy returns? Skills that we learn as composer-performers are dropped, remade, and tested during this period, how will our practice have changed?<\/jats:p>","DOI":"10.22501\/vis.1107476","type":"journal-article","created":{"date-parts":[[2021,3,14]],"date-time":"2021-03-14T23:09:27Z","timestamp":1615763367000},"source":"Crossref","is-referenced-by-count":0,"title":[",__ ^_. ||:_DOWN_DEEPCUTS_'LOCK[ANIM\u00c9.INVENTION] :||,\u2022__\\-\u2018 - - \u00c9TUDES FOR THE BEGINNING OF AN ONLINE PRACTICE"],"prefix":"10.22501","author":[{"family":"Josh Spear","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:50Z","timestamp":1727194130000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1107476\/1107477"}},"issued":{"date-parts":[[2021,3,15]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/vis.1107476","published":{"date-parts":[[2021,3,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:27Z","timestamp":1727238747914},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,14]]},"abstract":"In this essay I describe two projects within the field of visual art. Both works are examples of how the workflow techniques of digital photography can be modified in order to produce artworks that take on a distinct physicality and objecthood, and, as such, may form a spatial and\/or haptic relation with the viewer. I discuss how such an approach relates to the ability of photography to point beyond the physical situation of viewing due to the particular virtuality of the photograph. By relating my work to the ideas of Vil\u00e9m Flusser and Roland Barthes, recent theory on photography and photographic indexicality, as well as contemporary artistic work, I speculate here on how my own work illuminates perceptions of the photograph and understandings of the role of photography in today\u2019s media culture and economy.<\/jats:p>","DOI":"10.22501\/vis.750753","type":"journal-article","created":{"date-parts":[[2020,10,14]],"date-time":"2020-10-14T11:02:09Z","timestamp":1602673329000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing against the camera"],"prefix":"10.22501","author":[{"family":"Erik Friis Reitan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:00Z","timestamp":1727194140000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/750753\/750754"}},"issued":{"date-parts":[[2020,10,14]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/vis.750753","published":{"date-parts":[[2020,10,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:01Z","timestamp":1727238721449},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nThere was a strengthening of boundaries within classes and communities of society during the pandemic. While some slippages occurred from the cracks, the notions of difference became more evident.<\/jats:p>","DOI":"10.22501\/rc.1281736","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T06:55:56Z","timestamp":1622703356000},"source":"Crossref","is-referenced-by-count":0,"title":["SHEHER MEIN GHAR, GHAR MEIN SHEHER"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:16Z","timestamp":1727192776000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1281736\/1281737"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1281736","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:04Z","timestamp":1727238724854},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.<\/jats:p>","DOI":"10.22501\/rc.1276198","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T07:30:57Z","timestamp":1622705457000},"source":"Crossref","is-referenced-by-count":0,"title":["TESTING POSITIVE"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:07Z","timestamp":1727192767000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1276198\/1276199"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1276198","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:15Z","timestamp":1727238735439},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2016,4,28]]},"abstract":"The expanded cinema performance \u2018Palestinian Wildlife Series\u2019 parallels posthuman and postcolonial circumstance, using appropriated imagery of African animals shot directly from a television set in Palestine.\n\nChronicling the experimentation and process that went into this work of \u2018animal-video choreography\u2019, the author interweaves research on Palestine, materialist film, and Afrofuturist thought. The exposition reflects on the impact upon Khalil\u2019s work of women performance artists and avant-garde jazz musician Sun Ra, presenting a journey from text-based and signifier-heavy early experiments to the wordless and open-ended cinematic outcome the author comes to defend.\n\nDrawing on her transition from live performance to moving image production, this exposition will interest those concerned with interdisciplinarity and embodiment in digital imagery. It examines alternative modes of art activism and political uses of abstraction and experimentalism in art, specifically where critical ethnic and postcolonial studies are concerned. It supports discussions of rights and representation within artistic research and beyond from a diasporic perspective.<\/jats:p>","DOI":"10.22501\/jar.135120","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T19:36:08Z","timestamp":1492457768000},"source":"Crossref","is-referenced-by-count":0,"title":["Palestinian Wildlife Series: embodiment in images, critical abstraction"],"prefix":"10.22501","author":[{"family":"Rania Lee Khalil","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:23Z","timestamp":1727193203000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/135120\/135121"}},"issued":{"date-parts":[[2016,4,28]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/jar.135120","published":{"date-parts":[[2016,4,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:14Z","timestamp":1727238734958},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2011,11,20]]},"abstract":"Interactive video art is increasingly woven into urban public places around the world. A dominant argument about this growing form of public art is that it offers potential for new social, political and physical engagement with public space. However, there is little consensus or even analysis of just how such engagement is taking place. The exposition is an attempt to specify what drives the \u2018physical engagement\u2019 in this genre of work. It develops the argument that movement-centric and body-centric visualizations provide multi-modal movement representations, and that these can direct spatial attention through immersive and particularized experience. With reference to examples, the exposition concludes that interactive video art can offer a chronotopic experience in which space is understood through the time it takes to move the body.<\/jats:p>","DOI":"10.22501\/jar.11138","type":"journal-article","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T22:37:05Z","timestamp":1497998225000},"source":"Crossref","is-referenced-by-count":0,"title":["Motion Perception: Interactive Video and Spatial Awareness"],"prefix":"10.22501","author":[{"family":"Nell Breyer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:33Z","timestamp":1727193273000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/11138\/11171"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/jar.11138","published":{"date-parts":[[2011,11,20]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:17Z","timestamp":1727238737324},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,9,3]]},"abstract":"Student Number\n3169227\n\nSupervisor(s)\nAndrew Wright\n\nTitle\nI'm Nobody, who am I\n\nResearch Question\nMy research question is too long for the form.\n\nSummary\nEmily Dickinson's poetry can be hard to understand the first time you read it. How then can the artist communicate an Emily Dickinson poem in a song in a way that an audience grasps the meaning the first time? For that reason, you need to define who you are on stage and what you want to communicate. But what do you communicate on stage when your first sentence is 'I'm Nobody!'? This research turns Nobodies into Somebodies and the other way around by looking at the voices (the characters) that are present in the poems of Emily Dickinson, specifically the poem 'I'm Nobody!'. Who speaks to whom? The research makes a journey from Emily Dickinson to scholars who write about her, composers who make songs on her poems and in the end to the performer who with all these people in her mind communicates the poem and the song to the audience. Finally, the voices in the poem become defined as various characters that can be performed on different settings of 'I'm Nobody!' by Ernst Bacon, Nick Raspa and Lori Laitman. From something vague and ungraspable the poem and its voices become very concrete and close to our own daily lives.\n\nShort Bio\nMezzo soprano Boukje started singing as soon as she could speak. After her Bachelor\u2019s in History at the Utrecht University, she decided that she wanted to explore as much as possible about singing. In 2017 she graduated from the Fontys Conservatory in Tilburg and started her Master's in the Royal Conservatoire. Currently, she studies with Catrin Wyn-Davies. Boukje performed as a soloist in different concerts. She sang, for example, the alto solos in Bach\u2019s St Matthew Passion, Haydn\u2019s Stabat Mater, Rossini's Petite Messe Solennelle and she sang the role of H\u00e4nsel in the staged opera of H\u00e4nsel und Gretel from Humperdinck.<\/jats:p>","DOI":"10.22501\/koncon.529798","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:42:43Z","timestamp":1725921763000},"source":"Crossref","is-referenced-by-count":0,"title":["I'm Nobody, Who am I?"],"prefix":"10.22501","author":[{"family":"Boukje van Gelder","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:12Z","timestamp":1727193432000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/529798\/529799"}},"issued":{"date-parts":[[2019,9,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.529798","published":{"date-parts":[[2019,9,3]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:17Z","timestamp":1727238737585},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"This paper is first and foremost concerned with my methods for designing, constructing and composing with freeform electronic sound sculptures. It covers the topics of circuit modularity, network communication, interaction and sonification as a means to create nonlinear music, as well as architectural concepts that are either being utilized or that have been functioning as sources of inspiration toward the design of the sound sculptures. The reader will be guided largely through the perspective of my own work, but general ideas and concepts from similar artists will be discussed where applicable.<\/jats:p>","DOI":"10.22501\/koncon.359669","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:46:04Z","timestamp":1725921964000},"source":"Crossref","is-referenced-by-count":0,"title":["On Electronic Sound Sculptures: Circuits and Aesthetics"],"prefix":"10.22501","author":[{"family":"Eirik Brandal","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:56Z","timestamp":1727193476000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/359669\/359670"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.359669","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:02Z","timestamp":1727238662667},"posted":{"date-parts":[[2024,6,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The artistic research project I HAVE THE MOON was an experimental group activity or 'band retreat' for five composer-performers resulting in a public performance in the aDevantgarde Festival, 2019, in Munich. Research was conducted around a central research question stated verbally at the outset of the project: how can aesthetic innovations of contemporary classical music be made accessible to audiences without specialist education or background via communicative techniques of other music genres? After a substantial verbal discussion and sessions of musical jamming, each member created an artistic response to the research question, in the form of a composition or comprovisation, which the group then premiered in the aDevantgarde Festival. The results of the discussion, artistic works and final performance (by means of a video documentation) were then analysed by the project leader and presented in this article. The artistic research position is defined a priori through the research question, during the artistic process in the form of note-taking and multimedial documentation, and a posteriori through a (novel) 'Workflow-Tool-Application Analysis' (WTAA). Together, a method of 'lingocentric intellectual scaffolding' on the emobided knowledge inside the creative process is proposed. Insofar as this embodied knowledge can be seen as a 'field' to be researched, the methodology is built on collaborative autoethnography, 'auto-', since the project leader took part in the artistic process, guiding it from within.<\/jats:p>","DOI":"10.22501\/rc.957550","type":"posted-content","created":{"date-parts":[[2024,4,16]],"date-time":"2024-04-16T15:15:19Z","timestamp":1713280519000},"source":"Crossref","is-referenced-by-count":0,"title":["I HAVE THE MOON: aesthetics of contemporary classical music from a composer-performer band retreat."],"prefix":"10.22501","author":[{"family":"Samuel Penderbayne","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:02Z","timestamp":1727192462000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/957550\/957551"}},"issued":{"date-parts":[[2024,6,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.957550","published":{"date-parts":[[2024,6,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:14Z","timestamp":1727238674943},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2015,3,24]]},"abstract":"IT\u2019S DOING IT is part of an ongoing preoccupation with phenomena described under notions of passivity that started in 2009. Formats developed so far include video work, text, and an evening of dance and music as objects, carried out by a musician, five dancers, and twenty-seven objects ('passive movement', 2012). The research format IT\u2019S DOING IT (2012\/13) came into being three years after I started to work with the idea of \u2018passivity as force\u2019.\n\nEach articulation explores a different angle of something that could be called a \u2018productivity of passive forces\u2019. Holding the different endeavours together is an interest in surpassing the dichotomy of activity and passivity, to create a specific attention. This attention can be described as one of a shifted relation towards experiencing temporality as well as a spatial positioning. It is about an attention between active and passive, neither doing nor being \u2013 an aesthetic experience comparable to experiences in nature. \n\nAll the formats developed were created to enable settings in which this particular attention, which I like to link to passivity, is likely to occur. The nucleus of interest lies in finding ways to question anthropocentrism by experiencing what a particular place and the things in it may do to us \u2013 be they humans, non-humans, living or non-living entities, ideas, concepts, or materials. This practice gives justice to both objects and processes, to both things and experiences. It is listening in various ways. \n\nFollowing choreographic approaches, one crucial question will always be how (a) movement is created. Movement is related to a specific constellation. A constellational approach draws from the notion of agency as it appears in actor\u2013network theory (Bruno Latour) and has been developed by many thinkers within contemporary philosophy, with very different positions such as Jane Bennett\u2019s \u2018vitalist materialism\u2019, Graham Harman\u2019s \u2018object oriented ontology\u2019, or Karen Barad\u2019s \u2018agential realism\u2019, to name only a few of the outlines of the fields mentioned. Rather than linking references in any direct way, this work is trying to set the concept of \u2018actants\u2019 at work in order to equalise relations between art and philosophy during processes of knowledge production. Materials assembled in this particular proposition are organised in such a way as to find another way of doing as well as to invite a \u2018passive gaze\u2019. It\u2019s rather drifty and inefficient, an intentionally non-intentional attention. There will be no obvious outcome or surplus, but hopefully another kind of insight happens unexpectedly. \n\nIT\u2019S DOING IT was developed during a research residency at Gessnerallee Z\u00fcrich in the frame of IPF (Institute of Performing Arts and Film, Zurich University of the Arts) in 2012\/13. During eight weeks, the philosopher Jens Badura, head of the research focus 'performative practice' at IPF\/ZHdK, became my consultant and partner in weekly conversations. In the same frame, I was asked to give a workshop and a presentation. Other than that, I followed a solitary mode of life, aiming at an exorcism of governmentality by overdoing time management yet filling it with aimless activities, imagining post-work futures, and drawing on a concept of intuition within a concept of boundaries and rigour.\n\nIT'S DOING IT also draws from writings around laziness and doing less (Bojana Kunst) and notions of precariousness and exhaustion in post-Fordist economies. My daily routine was committed to a rigidly protocolled time to ritualise my practice and therefore enable passivation. The strict time protocol is subjected to repeating time units with certain titles, proposing specific tasks or fields of activity (dancing and other physical practices, reading, writing, eating, sleeping, cultivating conviviality) \u2013 every day for the same amount of time, the same thing. Ritual becomes the catalyst for another organisation of labour. Based on duration and repetition, materials are generated by constellations rather than subjective authorship. \n\nThis research exposition is meant neither as representation nor as documentation, but rather as something that could become a setting of distracted attention, between active and passive, paying attention and being paid attention to, in an indifferent yet slightly pleasant way \u2013 the \u2018passive gaze\u2019. During the eight weeks of protocolled time, each unit had been given a title. Now, rather than associating the materials generated with the time units they were developed in, the set up of the exposition relies on fields of associations generated by certain notions crucial to the endeavour. As such, none of it is particularly interesting, and it is only via repetition and duration that one comes to appreciate the flatness of it. Materials such as texts, videos, pictures, and audio files repeatedly appear in different constellations and at different crossings of the site.<\/jats:p>","DOI":"10.22501\/jar.51120","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T18:38:35Z","timestamp":1492454315000},"source":"Crossref","is-referenced-by-count":0,"title":["it's doing it \u2013 the force of passivity"],"prefix":"10.22501","author":[{"family":"Lucie Tuma","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Jens Badura","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:36Z","timestamp":1727193216000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/51120\/51121"}},"issued":{"date-parts":[[2015,3,24]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/jar.51120","published":{"date-parts":[[2015,3,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:15Z","timestamp":1727238675939},"posted":{"date-parts":[[2023,7,19]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The main purpouse of this research is to find out how do students of classical department use recordings as a source of information for their daily practice and what kind of information they seek in those recordings that is helpfull for them. To get this a survey of ten question was disigned and shared through many methods on the students of the Koninklijik Conservatorium in The Hague. 24 students from varied specialities and courses answered the survey, and the collected data will be analysed<\/jats:p>","DOI":"10.22501\/koncon.1957912","type":"posted-content","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:29Z","timestamp":1725921389000},"source":"Crossref","is-referenced-by-count":0,"title":["The Usage of recordings from other musicians as a source of information by students of Classical Music"],"prefix":"10.22501","author":[{"family":"Pedro Dom\u00ednguez Conde","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:15Z","timestamp":1727193315000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1957912\/1957913"}},"issued":{"date-parts":[[2023,7,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/koncon.1957912","published":{"date-parts":[[2023,7,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:18Z","timestamp":1727238678280},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,5,9]]},"abstract":"This interdisciplinary research presents a contextualisation and musico-literary analysis on the French poem and art song \u201cColloque sentimental\u201d from Paul Verlaine and Claude Debussy, followed by a full-fledged transcription of this \u2018m\u00e9lodie\u2019 for English horn, expanding the existing oboe repertoire. In the annotation and interpretation of \u201cColloque sentimental\u201d, a poetical and vocal approach has been applied, aiming to communicate a deeper understanding of the \u2018po\u00e9sie\u2019 and \u2018m\u00e9lodie\u2019 for performance practices. The studying and singing of the song resulted in an experimentation and reflection of playing the \u2018m\u00e9lodie\u2019 on English horn, a process of musically translating the poetry into an instrumental transcription that takes into account the particularities and possibilities of the language and voice as well as these of the instrument in question, with the aim of providing useful material for fellow oboists and those who are interested. For example, it was demonstrated during the research process how the understanding of literary and vocal phrases enhances horizontal and legato phrasing on English horn. Consequently, an important challenge in this case consisted of writing the transcription in a feasible notation that would be playable for any oboist, even without prior knowledge of the French language and poetry, hopefully leading to a poetical and purposeful performance of the piece.<\/jats:p>","DOI":"10.22501\/koncon.1432269","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:33:52Z","timestamp":1725874432000},"source":"Crossref","is-referenced-by-count":0,"title":["OBOETRY \u2013 French poetry played in melody: a poetical &amp; vocal approach to French 'm\u00e9lodie' on oboe"],"prefix":"10.22501","author":[{"family":"Anna Marieke Zijlstra","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:14Z","timestamp":1727193374000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1432269\/1433348"}},"issued":{"date-parts":[[2022,5,9]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1432269","published":{"date-parts":[[2022,5,9]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:18Z","timestamp":1727238678840},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,3,8]]},"abstract":"Esittelemme t\u00e4ss\u00e4 ekspositiossa kehitt\u00e4m\u00e4\u00e4mme paikkasidonnaista koreografista kirjoittamista, jonka ytimess\u00e4 on vieraan kohtaaminen. Keskeist\u00e4 kohtaamisessa on alttiiksi asettuminen ja myk\u00e4n kohtaaminen, joka murtaa totunnaisen aikak\u00e4sityksen. Kerromme yhteisty\u00f6mme l\u00e4ht\u00f6kohdista ja kuvaamme luomaamme koreografista kehyst\u00e4 sek\u00e4 esit\u00e4mme n\u00e4ist\u00e4 kehkeytyneen koreografian. Tukeutuen filosofi Emmanuel Levinasin ajatteluun pohdimme my\u00f6s vieraan ja katveen kohtaamisen ja ilmaisemisen luonnetta ja sen merkityst\u00e4 niin koreografisessa kirjoittamisessa kuin taiteessa yleisemminkin. Ekspositio sis\u00e4lt\u00e4\u00e4 tutkimusteksti\u00e4, valokuvia ja koreografista kirjoittamista.<\/jats:p>","DOI":"10.22501\/ruu.848270","type":"journal-article","created":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T13:56:48Z","timestamp":1615211808000},"source":"Crossref","is-referenced-by-count":1,"title":["Katveen varjon sanominen koreografisena kirjoittamisena"],"prefix":"10.22501","author":[{"family":"Leena Rouhiainen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Kirsi Heimonen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:50Z","timestamp":1727193590000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/848270\/848271"}},"issued":{"date-parts":[[2021,3,8]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/ruu.848270","published":{"date-parts":[[2021,3,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:20Z","timestamp":1727238680841},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2022,10,5]]},"abstract":"This exposition examines the possibilities and problems of using the elements of ancient musical culture for producing new music. It contains eleven video clips and associated texts explaining my artistic research on the Karelian kantele improvisation of the 19th century and earlier, which the kantele players called \"soittaa omaa mahtia\" (\"playing their own power\"). The word \"mahti\" (\"power\") means inner strength and knowledge. In this article, I call this particular music inner power improvisation.\nIn addition, the article includes two case studies that exemplify the use of tradition and its philosophy as tools in creativity education. I address the question of whether I can surpass the challenges of understanding a musical culture from a different time era and of an entirely different society than my own. Is it possible to receive an insider view through artistic research, by learning to make music according to the information found in the archives, historical texts, and folk music research? How do I perform responsible research and introduce my conclusions and musical interpretations when there is not enough reliable information about the original tradition?<\/jats:p>","DOI":"10.22501\/ruu.1088859","type":"journal-article","created":{"date-parts":[[2022,9,30]],"date-time":"2022-09-30T10:37:13Z","timestamp":1664534233000},"source":"Crossref","is-referenced-by-count":0,"title":["Connected Alone"],"prefix":"10.22501","author":[{"family":"Arja Anneli Kastinen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:20Z","timestamp":1727193560000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1088859\/1088860"}},"issued":{"date-parts":[[2022,10,5]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1088859","published":{"date-parts":[[2022,10,5]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:15Z","timestamp":1727238615386},"posted":{"date-parts":[[2023,6,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This overview traces the evolution of the bass in jazz music, highlighting its changing role from early jazz to modern jazz. It explores the importance of the bass in different setting, the virtuosic and improvisational style of bebop bassists, the atmospheric qualities of bass in modal jazz, the melodic contributions in cool jazz, and the exploration of abstract and groove-based music in modern jazz. By examining key figures and musical periods, we gain insights into the diverse and influential role of the bass in shaping jazz music.<\/jats:p>","DOI":"10.22501\/rc.2206406","type":"posted-content","created":{"date-parts":[[2023,6,28]],"date-time":"2023-06-28T13:43:50Z","timestamp":1687959830000},"source":"Crossref","is-referenced-by-count":0,"title":["Jazz Bass development"],"prefix":"10.22501","author":[{"family":"Basso Chan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:44Z","timestamp":1727192564000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2206406\/2206407"}},"issued":{"date-parts":[[2023,6,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2206406","published":{"date-parts":[[2023,6,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:19Z","timestamp":1727238619637},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time. \n\nIndividual micro-curated expositions are linked together for www.covidglossary.net in order to generate non-linear readings of the pandemic.<\/jats:p>","DOI":"10.22501\/rc.1275003","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T07:47:20Z","timestamp":1622706440000},"source":"Crossref","is-referenced-by-count":0,"title":["Reflections"],"prefix":"10.22501","author":[{"family":"moomal shekhawat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Vastavikta Bhagat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:44Z","timestamp":1727192744000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1275003\/1275004"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1275003","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:22Z","timestamp":1727238622557},"posted":{"date-parts":[[2020,3,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Creativity is a vital skill needed for a prosperous life in the 21st century. Where else to cultivate it but through music? Through the exploration of sounds, within a workshop, where the outcome is the creation of a musical piece that is not only of value but also original to the creator themselves, the researcher attempted to determine just that - How the creative music making process of students aged 9 to 14 can be guided with the utilization of electronic sound generators. Why electronic sound generators as instruments for creative music making? Because of the way they function, lending themselves out to exploration and inviting their user into a world of unfamiliar and intriguing sound possibilities. As a result of their hands-on, portable, easy to manipulate, unbiased and invitational properties electronic sound generators are ideal for anyone to participate in developing sound awareness leading toward the formulation of a creative product. The Crab Music workshop was designed and actualized by the researcher as a platform from within which the outcome of the research investigation could be determined. The researcher used three workshops as a case study to investigate, through the principles of action research, an outcome for the research question. Each workshop was analysed with the aim of determining if the guidance strategies employed were successful and where improvements could be made. Once determined, these improvements were implemented into the subsequent workshops as adjustments. As a result of the research it was found that all aspects of the workshop\u2019s content and context needed to be focused on sound. Therefore, the incorporation of sound exploration and application activities designed to focus on sonic associations and musical development, instrument setup and focus on instruments sound production, sound analysis activities, specific sound related reflective questions, reflective listening activities and suggestions for sonic alterations and transformations, setting up problem-solving contexts with multiple possibilities for solutions and with ample time for development, was essential for the creative music making process to be successful. It was established that within a sound exploration workshop there will always be multiple factors that influence the creative music making process in various ways. But, it is the workshop teacher\u2019s responsibility to have sufficient knowledge and skills to be aware of all these contributing factors in order to plan and carry out the goal of successfully guiding the creative music making process as it occurs.<\/jats:p>","DOI":"10.22501\/rc.632253","type":"posted-content","created":{"date-parts":[[2020,3,8]],"date-time":"2020-03-08T19:59:07Z","timestamp":1583697547000},"source":"Crossref","is-referenced-by-count":0,"title":["How to be a Creative Crab"],"prefix":"10.22501","author":[{"family":"Lucinda Watts","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:21Z","timestamp":1727192901000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/632253\/632254"}},"issued":{"date-parts":[[2020,3,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.632253","published":{"date-parts":[[2020,3,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:26Z","timestamp":1727238686300},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,6,26]]},"abstract":"With \"Withdrawing the Performer. Facilitating Participatory Sense-Making\", Imani Rameses (Center Research Focus, PhD candidate PhD in Art), Charlotta Ruth (Angewandte Performance Lab), and Jasmin Schaitl (Angewandte Performance Lab) combine their approaches from visual arts, choreography, and cognitive neuroscience to examine participatory modalities in immersive performative settings through the lens of social cognition. They focus on the role of the facilitator, a nearly invisible and overlooked, but highly important part of any performative situation. Working with facilitator experts in a practice-based peer-to-peer exchange, the authors seek to understand different methods for reducing thresholds and modulating participatory situations.<\/jats:p>","DOI":"10.22501\/repos.2481782","type":"journal-article","created":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T09:13:54Z","timestamp":1719393234000},"source":"Crossref","is-referenced-by-count":0,"title":["Withdrawing the Performer. Facilitating Participatory Sense-Making"],"prefix":"10.22501","author":[{"family":"Jasmin Schaitl","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Charlotta Ruth","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Imani Rameses","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:52Z","timestamp":1727193892000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2481782\/2481783"}},"issued":{"date-parts":[[2024,6,26]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/repos.2481782","published":{"date-parts":[[2024,6,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:27Z","timestamp":1727238687844},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2021,11,8]]},"abstract":"\u00abMinne som materiale\u00bb har v\u00e6rt en unders\u00f8kelse av ulike m\u00e5ter \u00e5 arbeide kunstnerisk med minner og hukommelse. Jeg har utforsket ulike materialer, prosesser og uttrykksformer gjennom et knippe verk, prosjekter og refleksjoner, med musikalsk komposisjon i en utvidet praksis og kontekst som plattform. \n\nKomposisjonene jeg har arbeidet frem har best\u00e5tt av musikk, performative situasjoner, romlige strukturer, tekst, visuelle materialer og medier. I hybride kunstformer som dette, krysses ulike produktive kunstneriske prosesser i arbeidet med et verk. Jeg inntar med andre ord en sammensatt kunstnerisk rolle ovenfor verkene, og i tilblivelsesprosessen. Praksisen min som komponist er alts\u00e5 utvidet til \u00e5 ogs\u00e5 innbefatte regimessige, ut\u00f8vende, visuelle og romlige metoder. For meg handler det om \u00e5 skape et synergisk felt hvor nye kunstverk kan oppst\u00e5 sammen med andre, hvor materialitet, formspr\u00e5k og kompositoriske niv\u00e5er gradvis utkrystalliseres gjennom tilblivelsesprosessene. Hvert enkelt prosjekt jeg har gjort som endel av \u00abMinne som materiale\u00bb, har derfor kalt p\u00e5 ulike vektinger av disse ulike bestanddelene. \n\nI tillegg har det oppst\u00e5tt forskjellige samarbeid med en eller flere kunstnere, noe som igjen har v\u00e6rt med p\u00e5 \u00e5 p\u00e5virke denne vektingen og dermed hver enkelt prosess. Og sist men ikke minst, har mitt valg av tema og materiale v\u00e6rt av avgj\u00f8rende betydning for prosessen og resultatene.\n\nVed starten av stipendiatprosjektet ga jeg prosjektet tittelen \u00abShared Space - Composing in the field of a relational, processual and intermedial practise\u00bb. Fokuset var rettet mot et knippe kunstneriske samarbeid som jeg stod overfor. For \u00e5 knytte verket og materialet tettere til ut\u00f8veren, og for \u00e5 forsterke ut\u00f8verens grad av delaktighet og eierskap ved at noe personlig stod p\u00e5 spill, valgte jeg \u00e5 fokusere de kunstneriske unders\u00f8kelsene rundt ut\u00f8verens biografi, og erindring av denne, og videre relatere dette til et kroppslig minne. \n\nEtterhvert som flere av prosjektets verker tok form, opplevde jeg at min nysgjerrighet dypest sett knyttet seg til hukommelse, mer enn samarbeidsprosessene i seg selv. Min undring og s\u00f8ken handlet etterhvert om hva slags type materiale minnet kan produsere. Gjennom kunstneriske metoder, virkemidler og prosesser, unders\u00f8kte jeg minner og hukommelse, arkiv og historie. Jeg brukte minnet som arnested for materialutvikling, kompositorisk arbeide og bearbeidelser. Dette skjedde med s\u00e5pass ulike kilder som kroppslig minne, steder, rom, dokumenter, historiske hendelser, musikalsk minne, lyd- og bildearkiv. For like mye som minner avleires i hvert enkelt individ, skapes det ogs\u00e5 kollektive forbindelser gjennom de samme minnene. Utforskningen skjedde derfor i skj\u00e6ringspunktet mellom den individuelle og den kollektive hukommelse, mellom fiksjon og fakta, mellom det som er tilstede og det som \u00f8yensynlig er glemt. P\u00e5 hvilke m\u00e5ter kunne minnets materiale v\u00e6re basis for kunstneriske produktive prosesser? Hvordan kunne disse prosessene utfordre b\u00e5de meg og de jeg samarbeidet med, men ogs\u00e5 det unders\u00f8kte materiale selv - estetisk som etisk?\n\nMinnematerialet fra lydopptak eller dokumenter, fra ut\u00f8veren(e) eller protagonisten i prosjektet, dannet slik sett beveggrunnen for verkene. Gjennom arbeidsprosessen utsatte jeg materialet for assosiative og kreative prosesser via omplassering og forvandling, unders\u00f8kelser og komposisjon. Dette skjedde gjennom lydlig, scenisk og romlig eksperimentering. Materialets betydning ble fors\u00f8kt forflyttet langs ulike akser i denne prosessen: Fra et felt til et annet skjedde en knoppskyting og forplantning av ideer, som dannet et materielt, kompositorisk og assosiativt nettverk - alt basert p\u00e5 minnets materiale og selvhevdelse. For hukommelsen v\u00e5r er kreativ. For \"\u00e5 f\u00e5 tak\" p\u00e5 den, m\u00e5 den vel behandles deretter? Samtidig \u00f8nsket jeg \u00e5 unders\u00f8ke m\u00e5ter \u00e5 frigj\u00f8re det personlige eller arkiviske materialet ved \u00e5 konfrontere det med kunstneriske metoder. Kan det private og kanskje lukkede overskrides og oppl\u00f8ses gjennom kunstneriske transformasjoner? Hvilke kunstneriske grep og unders\u00f8kelser kan dette gj\u00f8res gjennom?\n\nArbeidet var et fors\u00f8k p\u00e5 en leken unders\u00f8kelse og omplassering av den konkluderte fortiden, av n\u00e5et som stadig fremkommer og av den immanente fremtiden. Et fors\u00f8k p\u00e5 \u00e5 gjen\u00e5pne noe. Som en form for mot-hukommelse hvor sp\u00f8rsm\u00e5l kunne stilles ved det vi kaller historien. Hvor den ene historiske stemmen kanskje krakelerer i alle de sporene, formasjonene og relasjonene den til enhver tid best\u00e5r av. For hvordan unders\u00f8ke og utsp\u00f8rre hukommelsen, minnene v\u00e5re, s\u00e5 vel som historien gjennom kunstneriske prosesser? Og hvordan unders\u00f8ke minner som konstituerer v\u00e5r individuelle hukommelse, men ogs\u00e5 skaper kollektive identiteter og forst\u00e5else av historien?<\/jats:p>","DOI":"10.22501\/nmh-ar.1007403","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T12:14:32Z","timestamp":1684757672000},"source":"Crossref","is-referenced-by-count":0,"title":["Minne som materiale"],"prefix":"10.22501","author":[{"family":"Erik Daehlin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:25Z","timestamp":1727194105000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1007403\/1007404"}},"issued":{"date-parts":[[2021,11,8]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1007403","published":{"date-parts":[[2021,11,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:29Z","timestamp":1727238689239},"posted":{"date-parts":[[2023,6,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"As AI systems proliferate, questions about their emergent capacities focus on intelligence, sentience, and control. But the issue of agency, the capacity for action with consequences, brings other design issues into play. Agency takes many forms including mechanical, incidental, probabilistic, and intentional, but is largely assessed on the basis of behaviors. The challenge of designing agency can be met by considering what must be programmed into a system to provide it with the capacity for action, but the distinction between the appearance of agency (simulacral) and actual agency (intentional) is difficult to test. This paper discusses some of the connections between agency and debates in physics about determinism and probability as they relate to the question of human capacities for intentional action and concludes with a discussion of the difficulties of conceptualizing agency without falling into Romantic models of disruptive behavior. No easy answers arise in regard to the problem of designing intentional agency in a way that can be either tested or constrained.<\/jats:p>","DOI":"10.22501\/hub.2156403","type":"posted-content","created":{"date-parts":[[2023,6,21]],"date-time":"2023-06-21T14:51:31Z","timestamp":1687359091000},"source":"Crossref","is-referenced-by-count":0,"title":["Designing Agency"],"prefix":"10.22501","author":[{"family":"Johanna Drucker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:28Z","timestamp":1727194168000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2156403\/2156402"}},"issued":{"date-parts":[[2023,6,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/hub.2156403","published":{"date-parts":[[2023,6,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,6]],"date-time":"2024-12-06T05:23:34Z","timestamp":1733462614278,"version":"3.30.1"},"posted":{"date-parts":[[2024,12,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"Heaven on Earth: As Above, So Below\" introduces the novel idea that features on the seafloor mirror the constellations in our night sky; challenging the long-held belief that ancient people simply imagined such unusual creatures amongst the stars. Visual evidence is produced by exploring the topography of Earth to make connections with constellation myths. The results are highlighted on a digital map and surprisingly follow the same meticulous order as defined by ancient narratives. \n\nThis research should resonate with individuals in various fields, including: Art, History, Religious Studies, Astrology, Archaeology, Environmental Studies, Sociology, Linguistics, Folklore, Anthropology, Geography, Humanities, Cognitive Science, Psychology, Classical Literature, Astrophysics and Cultural Anthropology.\n\nWARNING: Contents may cause a permanent change to your worldview.<\/jats:p>","DOI":"10.22501\/rc.3032777","type":"posted-content","created":{"date-parts":[[2024,12,5]],"date-time":"2024-12-05T21:40:27Z","timestamp":1733434827000},"source":"Crossref","is-referenced-by-count":0,"title":["Heaven on Earth: As Above, So Below"],"prefix":"10.22501","author":[{"family":"Bradly Couch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,5]],"date-time":"2024-12-05T21:40:27Z","timestamp":1733434827000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3032777\/3042639"}},"issued":{"date-parts":[[2024,12,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3032777","published":{"date-parts":[[2024,12,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,6,20]],"date-time":"2025-06-20T04:07:38Z","timestamp":1750392458600,"version":"3.41.0"},"posted":{"date-parts":[[2025,6,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,19]],"date-time":"2025-06-19T00:00:00Z","timestamp":1750291200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This thesis presents the outcomes of my artistic research conducted as a master\u2019s student in the Improvisation and World Music Performance program at the Academy of Music and Drama, University of Gothenburg, Sweden. The present study investigates how a musical identity is constructed and reshaped over time, drawing from my background as a Brazilian singer, guitarist, and songwriter, and examining how exchanges with musicians from different fields and exposure to new artistic inputs can influence my creative practice. Central to the research is finding tools to broaden my expressive possibilities within the song format, through the integration of improvisation, diverse ensemble instrumentation, and inventive strategies for communicating artistic intentions and political concerns through music and stage performance. This work also explores possible approaches for overcoming creative blocks and performance-related fears, especially those related to improvisation, seeking to cultivate a state of freedom, openness, fulfillment and joy while playing.<\/jats:p>\n keywords: musical identity, intercultural contexts, Brazilian music, improvisation, communication, voice and guitar performance, songwriting, cantautora<\/jats:p>","DOI":"10.22501\/rc.3710562","type":"posted-content","created":{"date-parts":[[2025,6,19]],"date-time":"2025-06-19T10:18:47Z","timestamp":1750328327000},"source":"Crossref","is-referenced-by-count":0,"title":["Building Bridges, Exploring Identity: A Musical Journey of a Brazilian Cantautora in an Intercultural Context"],"prefix":"10.22501","author":[{"family":"Clara Gurj\u00e3o","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,6,19]],"date-time":"2025-06-19T10:18:47Z","timestamp":1750328327000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3710562\/3710563"}},"issued":{"date-parts":[[2025,6,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3710562","published":{"date-parts":[[2025,6,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,10]],"date-time":"2025-12-10T19:17:06Z","timestamp":1765394226336,"version":"3.46.0"},"posted":{"date-parts":[[2025,12,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,10]],"date-time":"2025-12-10T00:00:00Z","timestamp":1765324800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The artistic intervention \"Foot Baths for All\" (2024) emerged from an ethnographic exploration of collective forms of life on wastelands in Switzerland. Ethnographic insights regarding self-organized care, occupation, informal infrastructure, gift economies, and the shared use of water and electricity were fictionalized and recontextualized in the inner city of Zurich, in order to explore new forms of appropriation and participation in urban life.This exposition aims to share the results and experiences of this research through multiple formats: a video documentation, a how-to guide, and a text that offers insights into the ethnographic research and its translation into an artistic intervention, conceptualizing \"Foot Bath Urbanism\" as an artistic method for city-making from below.This project is situated in the field of artistic urban research. It is based on an expanded notion of art that moves beyond institutional contexts to intervene directly in public urban spaces through installations and performative practices, following approaches such as \u201cNew Genre Public Art\u201d. The how-to guide is connected to instruction-based art, challenging conventional notions of authorship while emphasizing accessibility, participation, and interactivity, rooted in the conceptual art of the 1960s and 1970s, including the Fluxus movement.<\/jats:p>\n keywords: public art, urbanism, ethnography, intervention, artistic research<\/jats:p>","DOI":"10.22501\/rc.3866465","type":"posted-content","created":{"date-parts":[[2025,12,6]],"date-time":"2025-12-06T15:10:45Z","timestamp":1765033845000},"source":"Crossref","is-referenced-by-count":0,"title":["Foot Baths for All"],"prefix":"10.22501","author":[{"family":"Julia Weber","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Mayumi Arai","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,10]],"date-time":"2025-12-10T19:14:12Z","timestamp":1765394052000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3866465\/3996774"}},"issued":{"date-parts":[[2025,12,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3866465","published":{"date-parts":[[2025,12,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T09:11:08Z","timestamp":1765444268123,"version":"3.46.0"},"posted":{"date-parts":[[2025,12,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T00:00:00Z","timestamp":1765411200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The artistic research project TiO\u2082: The Materiality of White (MoW) is led by Associate Professor Marte Johnslien, Department of Art and Craft, Oslo National Academy of the Arts. The project builds on her PhD project White to Earth, completed at the same department in 2020. MoW is funded by the Norwegian Directorate for Higher Education and Skills (HK-dir) through the Programme for Artistic Research for the period 2022\u20132026.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3993751","type":"posted-content","created":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T09:08:11Z","timestamp":1765444091000},"source":"Crossref","is-referenced-by-count":0,"title":["TiO2: The Materiality of White Research Project"],"prefix":"10.22501","author":[{"family":"Marte Johnslien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,11]],"date-time":"2025-12-11T09:08:11Z","timestamp":1765444091000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3993751\/3993752"}},"issued":{"date-parts":[[2025,12,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3993751","published":{"date-parts":[[2025,12,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,5,3]],"date-time":"2025-05-03T04:08:06Z","timestamp":1746245286215,"version":"3.40.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,2]],"date-time":"2025-05-02T00:00:00Z","timestamp":1746144000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,2]]},"abstract":"As a recorder and traverso player, J.S. Bach\u2019s works form a crucial part of my repertoire. They include some of the most technically advanced music written for the recorder, in which the instrument seems to be pushed to its limits. Meanwhile, the traverso is welcomed into the orchestra, and it has come to stay. In order to understand the many problems surrounding the recorder and traverso parts from Bach\u2019s music, I need to know how Bach used each instrument specifically. And to be able to make the right artistic choices, I need to know why he chose the recorder for one composition, and the traverso for the other. In answering these questions, I have used my experience in playing both woodwinds to my advantage. My journey has led me through an analysis of terminology, tessitura, symbolism, clefs and pitch surrounding Bach\u2019s flute parts. And for context, I have compared Bach\u2019s use of the recorder and traverso with that of his contemporaries. With my research, I present an overview of the characteristic differences between the two instruments in Bach\u2019s music, giving my own artistic view on some of the unsolved mysteries surrounding Bach and his use of flutes.<\/jats:p>\n keywords: recorder, traverso, pitch, symbolism, 18th century, Art of Interpretation, historically informed performance, baroque, Early music, Johann Sebastian Bach<\/jats:p>","DOI":"10.22501\/koncon.3189053","type":"journal-article","created":{"date-parts":[[2025,5,2]],"date-time":"2025-05-02T14:20:13Z","timestamp":1746195613000},"source":"Crossref","is-referenced-by-count":0,"title":["Blast die wohlgegriffnen Fl\u00f6ten: Understanding and comparing J.S. Bach\u2019s use of recorder and traverso"],"prefix":"10.22501","author":[{"family":"Dante Jongerius","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,5,2]],"date-time":"2025-05-02T14:20:14Z","timestamp":1746195614000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3189053\/3189054"}},"issued":{"date-parts":[[2025,5,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3189053","published":{"date-parts":[[2025,5,2]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T16:42:41Z","timestamp":1754152961836,"version":"3.41.2"},"posted":{"date-parts":[[2025,7,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,7,22]],"date-time":"2025-07-22T00:00:00Z","timestamp":1753142400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This virtual exposition partially concentrates the experimental works developed during the doctorate in musical performance. Based mainly on the theory of transcreation of Haroldo de Campos (1962-2003), the topic of virtuosity is approached from artistic gestures trying to raise the discussion on what it means to be a virtuoso in the contemporary musical world. Paradoxically, iconic piano technique studies were chosen as the main material,this transcreationist interpretation allows traditional material to be permeated not only by contemporary means and aesthetics, but also questions that reflect on the tradition that made the emergence of these studies possible.<\/jats:p>\n keywords: virtuoso, transcreation, multimedia, contemporary music<\/jats:p>","DOI":"10.22501\/rc.759860","type":"posted-content","created":{"date-parts":[[2025,7,22]],"date-time":"2025-07-22T13:54:10Z","timestamp":1753192450000},"source":"Crossref","is-referenced-by-count":0,"title":["Virtuositas noster qui es in Parnaso"],"prefix":"10.22501","author":[{"family":"Susana Castro Gil","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,7,22]],"date-time":"2025-07-22T13:54:10Z","timestamp":1753192450000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/759860\/759861"}},"issued":{"date-parts":[[2025,7,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.759860","published":{"date-parts":[[2025,7,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T19:10:49Z","timestamp":1754161849556,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T00:00:00Z","timestamp":1753747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,7,29]]},"abstract":"Denne masteroppgaven utforsker hvordan elementer fra bulgarsk, serbisk og nord-makedonsk folkemusikk kan brukes som inspirasjon i skapelsen av nye komposisjoner innen rytmisk musikk. Hovedproblemstillingen er: Hvordan kan elementer innen folkemusikken fra Bulgaria, Serbia og Nord-Makedonia brukes til \u00e5 skape nye verk som reflekterer b\u00e5de tradisjon og innovasjon?\nFor \u00e5 besvare oppgaven har jeg brukt kunstnerisk utviklingsarbeid med autoetnografiske innslag. Oppgaven bygger komprovisasjon og refleksjon gjennom praksis. I tillegg til dette inkluderer oppgaven ogs\u00e5 innspill fra hovedinstrumenttimer med folkemusiker Jovan Pavlovic. Kunstig intelligens har blitt brukt som st\u00f8tteverkt\u00f8y for struktur, id\u00e9utvikling og spr\u00e5kvask.\nFire egenkomponerte verk utgj\u00f8r kjernen i det empiriske materialet, hvor hvert verk bygger p\u00e5 bestemte musikalske elementer fra \u00f8st-balkansk folkemusikk. Disse komposisjonene forankres i etnomusikologiske teorier fra Timothy Rice, samt ser vi p\u00e5 historiske og musikkteoretiske vinklinger fra \u00d8st-Balkan. \nGjennom arbeid med prosjektet har jeg kommet frem til noen funn som jeg presenterer i kapittel 5. \nDet er en h\u00e5rfin balanse mellom respekt for det tradisjonelle og kunstnerisk nyskapning.\nOppgaven konkluderer med at det er fullt mulig \u00e5 skape nye musikalske verk som b\u00e5de speiler tradisjon og \u00e5pner for innovasjon. Gjennom kunstnerisk praksis og kritisk refleksjon kan man bidra til faglig utvikling og egen kunstnerisk identitet.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/uia.3530901","type":"journal-article","created":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:32:07Z","timestamp":1753788727000},"source":"Crossref","is-referenced-by-count":0,"title":["P\u00e5 tvers av grenser - et kunstnerisk utviklingsarbeid med inspirasjon i folkemusikken fra Balkan"],"prefix":"10.22501","author":[{"family":"Marko Mitrovic","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:32:07Z","timestamp":1753788727000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3530901\/3654601"}},"issued":{"date-parts":[[2025,7,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.3530901","published":{"date-parts":[[2025,7,29]]}},{"indexed":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T11:10:09Z","timestamp":1749813009585,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T00:00:00Z","timestamp":1749772800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,6,13]]},"abstract":"This article discusses four artworks that employ artificial intelligence (AI) as practice as research (PaR) by artist Garrett Lynch IRL. These are: I\u2019m not Garrett Lynch IRL \u2013 DoppelGANger Portraits (2021), a series of Generative Adversarial Network (GAN) portraits; TheLastStraw (2021\u201323), a performative generative artwork for social media; Flag for States of Damage (2018), a performative mixed-reality artwork for the web and The Traveller (2024), a four-channel video installation with artefacts.\n\nThe objective of the works is two-fold. Firstly, each artwork\u2019s use of AI is distinct yet is intended to form part of a broad ongoing exploration of how networks can be transformative to art practice. The works maintain that AI is a form of network that enables emergence. Not the emergence of intelligence as defined in the field of AI, but instead in the context of art theory a manner in which artworks are expanded, extended or activated beyond their artist\/author defined forms. AI as a network is therefore defined as both the generative adversarial network, the input, employed in the formation of the work and the resulting network of artist, artwork and audience that emerges when a work is expanded, extended or activated. Secondly, instrumental in facilitating AI as a network is the use of language as a combined form of encoding and performative utterance (Austin, 2018). Building on a fundamental basis of computing that all digital media is reducible to language, code, and numbers as well as a basis of communication theory that language is a social construct, the works explore language as both form of representation and communication between human and machine. Language enables a process of folding (O\u2019Sullivan, 2005) or flipping (Sloan, 2012) of concepts, media and artefacts between \u2018virtual\u2019 and \u2018real\u2019 spaces, between digital and materialised forms.<\/jats:p>\n keywords: AI art, language, practice as research, networks, folding, encoding, transforming<\/jats:p>","DOI":"10.22501\/hub.3012435","type":"journal-article","created":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T10:39:43Z","timestamp":1749811183000},"source":"Crossref","is-referenced-by-count":0,"title":["Language in AI Art: Encoding, Folding and Transforming"],"prefix":"10.22501","author":[{"family":"Garrett Lynch IRL","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T10:39:43Z","timestamp":1749811183000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3012435\/3074347"}},"issued":{"date-parts":[[2025,6,13]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/hub.3012435","published":{"date-parts":[[2025,6,13]]}},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:11:47Z","timestamp":1759335107841,"version":"build-2065373602"},"posted":{"date-parts":[[2025,2,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,24]],"date-time":"2025-02-24T00:00:00Z","timestamp":1740355200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Samtale med tidligere fabrikksjef p\u00e5 Bratsberg teglverk John Arne Rinde 04.10.2022. B\u00f8 i Telemark.<\/jats:p>\n keywords: bl\u00e5leire, murstein, tegl, kunstnerisk forskning, clay, brick, blueclay, artistic resaerch, brick industry, teglindustri, teglhistorie, brick history, Bratsberg teglverk, kroppslig kunnskap, situert kunnskap<\/jats:p>","DOI":"10.22501\/rc.2948934","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:09:33Z","timestamp":1740722973000},"source":"Crossref","is-referenced-by-count":0,"title":["Samtale med tidligere fabrikksjef p\u00e5 Bratsberg teglverk John Arne Rinde 04.10.2022"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:28Z","timestamp":1759302628000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2948934\/2948814"}},"issued":{"date-parts":[[2025,2,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2948934","published":{"date-parts":[[2025,2,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:40Z","timestamp":1759335160258,"version":"build-2065373602"},"posted":{"date-parts":[[2023,8,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,8,16]],"date-time":"2023-08-16T00:00:00Z","timestamp":1692144000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This essay is reflection on the research project \u201c Presence and sustainability in the Performing arts\u201d conducted by Camilla Damkjaer and Johanna Garpe at Stockholm University of the Arts 2021-2023. \n The project started from the idea that the premise of the performing arts is to capture people\u2019s attention. At the same time our attention is under pressure through experience economy, digitalisation and work-life conditions. We wanted to explore ways of creating sustainable relations to attention within this field. The purpose was of the project was therefore to develop a more sustainable relation to attention within the performing arts, in the meeting with meditative practices.<\/jats:p>\n keywords: performing arts, presence, attention, yoga, Meditation<\/jats:p>","DOI":"10.22501\/rc.2255144","type":"posted-content","created":{"date-parts":[[2023,8,16]],"date-time":"2023-08-16T05:20:55Z","timestamp":1692163255000},"source":"Crossref","is-referenced-by-count":0,"title":["\"ART THOU PAYING ATTENTION?\" - PRESENCE AND SUSTAINABILITY IN THE PERFORMING ARTS"],"prefix":"10.22501","author":[{"family":"Camilla Damkjaer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:23Z","timestamp":1759302623000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2255144\/2255143"}},"issued":{"date-parts":[[2023,8,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2255144","published":{"date-parts":[[2023,8,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T11:10:19Z","timestamp":1759921819561,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Language as Custody \u2014 Writing Without Harm in Post-Interpretive Criticism\n\nBy Dorian Vale\n\nIn this critical essay, Dorian Vale addresses the often overlooked violence of language in art criticism. Drawing from the philosophical core of Post-Interpretive Criticism (PIC), this work reframes writing not as interpretation, but as custody\u2014an act of ethical stewardship over what cannot be explained without distortion.\n\nVale explores how clinical, ironic, or overly descriptive language can flatten the moral gravity of witness-based artworks\u2014particularly those dealing with trauma, silence, exile, or the sacred. Instead of attempting to decode or resolve these works, the essay proposes a discipline of linguistic restraint, where words become protective vessels rather than invasive instruments.\n\nThrough real case studies and comparative language analysis, Language as Custody offers both a conceptual foundation and practical framework for how one might write without harm. The goal is not to say more, but to write in a way that holds what the work cannot say aloud.\n\nThis is not a guide for translation\u2014it is a doctrine for presence. A refusal to violate what resists interpretation. And in that refusal, it calls for a quieter, more reverent kind of authorship.\n\nVale, Dorian. Language as Custody \u2014 Writing Without Harm in Post-Interpretive Criticism. Museum of One, 2025. DOI: 10.5281\/zenodo.17077653\n\n \nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)\n\n \n\npost-interpretive criticism, Dorian Vale, study guide for art criticism, five principles of art ethics, ethical witnessing in art, presence over interpretation, restraint in criticism, moral proximity, viewer as evidence, rejecting performance, contemporary art criticism, poetic criticism, art education resources, museum pedagogy, witnessing trauma in art, art writing without interpretation, anti-interpretation philosophy, critique without harm, non-extractive art writing<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Art as Ontology, Custodianship of Art, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Moral proximity, Restraint in front of art, Interpretive silence, Erasure as ethics, Silence as method, Temporal scarcity, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Custodian of Witness Aesthetics, Aesthetic Philosopher, Art Writer and Theorist, Museum of One, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art<\/jats:p>","DOI":"10.22501\/rc.3921617","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T10:30:03Z","timestamp":1759919403000},"source":"Crossref","is-referenced-by-count":0,"title":["Language as Custody \u2014 Writing Without Harm in Post-Interpretive Criticism"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T10:30:03Z","timestamp":1759919403000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921617\/3921616"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921617","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T16:11:39Z","timestamp":1759939899033,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Canon of Witnesses: On Zarina Hashmi\u2019s Home Is a Foreign Place\n\nBy Dorian Vale\n\nIn this elegiac and piercing reflection, Dorian Vale inducts Zarina Hashmi into the Canon of Witnesses through her seminal work Home Is a Foreign Place. Rather than interpreting the piece, Vale engages it as a ritual of moral proximity\u2014where each word etched on handmade paper becomes a relic of memory, exile, and untranslatable grief.\n\n \n\nZarina\u2019s restrained use of language, the materiality of her paper, and her refusal to perform trauma are treated here not as minimalist strategies, but as ethical gestures. The essay resists biographical reduction or historical summary and instead approaches the work as a sacred geography of loss\u2014one that cannot be decoded without doing harm.\n\n \n\nDrawing from the principles of Post-Interpretive Criticism, Vale positions Zarina not as an artist of silence, but as a custodian of what language can no longer hold. What remains is not narrative. What remains is presence.\n\n \n\nVale, Dorian. Canon of Witnesses: On Zarina Hashmi\u2019s Home Is a Foreign Place. Museum of One, 2025. DOI: 10.5281\/zenodo.17072625\n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)\n\nZarina Hashmi, Home Is a Foreign Place, Post-Interpretive Criticism, Dorian Vale, art and exile, Urdu in art, trauma and memory in art, minimalism vs restraint, sacred aesthetics, witness-based art criticism, moral proximity, non-interpretive art writing, handmade paper in art, ethics of language in art, feminist art critique, contemporary South Asian art<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Visual Culture Studies, Epistemology of Art, Custodian of Witness Aesthetics, Aesthetic Philosopher, Art Writer and Theorist, Independent Philosopher of Art, Museum of One, Founder of Post-Interpretive Criticism, Dorian Vale, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Presence, Art as Truth, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, https:\/\/orcid.org\/0009-0004-7737-5094, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, Zarina Hashmi<\/jats:p>","DOI":"10.22501\/rc.3921660","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:29:27Z","timestamp":1759937367000},"source":"Crossref","is-referenced-by-count":0,"title":["Canon of Witnesses: On Zarina Hashmi's Home Is a Foreign Place"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:29:27Z","timestamp":1759937367000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921660\/3921659"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921660","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T12:55:59Z","timestamp":1772024159333,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2025,12,16]],"date-time":"2025-12-16T00:00:00Z","timestamp":1765843200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2025,12,16]]},"abstract":"In recent years, it has become a real possibility for artists to engage with spatial sound technologies that allow for movement beyond the stereocentric paradigm. Thus, spatialization has mostly lent itself to avant-garde traditions, electronic music, and sound art. However, the rapid advancements of technologies have called for artists, songwriters, and musicians of all genres to contribute to this development not only by following and fitting into these new formats but also by shaping them through artistic engagements with them. When considering sound in space as a new component in the music creation toolbox, a new dimension is added that provides creative and performative potentials of situating songwriting and music creation within a spatial sound practice. Beyond the literal, what kinds of metaphorical or emotional resonance can emerge from the vibration between various bodies, such as composers, performers, and audiences, as well as bodies of sound, technologies, interfaces, instruments, scene, setting, speakers, aesthetics, and orientations? Voicing Spatial Songs was conducted by avant-pop duo S\u00d8STR, which consists of sisters Louise Lind Foo and Sharin Foo.<\/jats:p>\n keywords: Spatial Audio, 3D-Audio, immersive performance, immersive audio installation, songwriting, coding, instrument design, interface design, pop music, RMC staff<\/jats:p>","DOI":"10.22501\/rmc.3512750","type":"journal-article","created":{"date-parts":[[2025,12,16]],"date-time":"2025-12-16T12:45:46Z","timestamp":1765889146000},"source":"Crossref","is-referenced-by-count":0,"title":["Voicing Spatial Songs"],"prefix":"10.22501","author":[{"family":"Louise Lind Foo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Sharin Foo","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T11:55:48Z","timestamp":1772020548000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3512750\/3620936"}},"issued":{"date-parts":[[2025,12,16]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/rmc.3512750","published":{"date-parts":[[2025,12,16]]}},{"indexed":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T14:13:22Z","timestamp":1777990402932,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2026,5,5]]},"abstract":"Kozmic Sounds is a long-term interdisciplinary art\u2013research project that investigates the sonic environment of the Opava River and the Kozmick\u00e9 louky wetlands. It is grounded in a sustained relationship with the site and in field research. Since 2022, it has taken the form of an annual festival\/symposium, based on new socio-cultural relationships and sensitive engagements with local soundscapes and sites. The text situates the area as an ecotonal, more-than-human landscape shaped by restoration and regulation, ownership structures, and conflicts surrounding nature conservation. Listening-beyond is understood as an ethical practice of attention, reciprocity, and care, developed through continuous listening from diverse technical and conceptual perspectives.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.4308623","type":"journal-article","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:28:05Z","timestamp":1777987685000},"source":"Crossref","is-referenced-by-count":0,"title":["Kozmic Sounds"],"prefix":"10.22501","author":[{"family":"Magdalena Manderlova","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Michal Kindernay","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:28:05Z","timestamp":1777987685000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4308623\/4308624"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jss.4308623","published":{"date-parts":[[2026,5,5]]}},{"indexed":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T14:14:52Z","timestamp":1777990492767,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2026,5,5]]},"abstract":"Report on a workshop facilitated by Grant Smith (Soundcamp) as part of the CENSE symposium Beyond Listening at MOME, Budapest 2023. The workshop covered building field transmitters (streamboxes) from kits, a recurring activity of the cooperative. Streamboxes have been developed collaboratively over time, including as part of the Acoustic Commons collaboration (2020-22), as tools for listening to remote places and situations. Applications include long term ecoacoustic art and research, contributions to the Reveil broadcast (2014-), and a variety of art and activist projects.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.4301254","type":"journal-article","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:29:31Z","timestamp":1777987771000},"source":"Crossref","is-referenced-by-count":0,"title":["Streambox Building Workshop Report"],"prefix":"10.22501","author":[{"family":"grant smith","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:29:32Z","timestamp":1777987772000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4301254\/4301255"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jss.4301254","published":{"date-parts":[[2026,5,5]]}},{"indexed":{"date-parts":[[2026,5,11]],"date-time":"2026-05-11T22:23:21Z","timestamp":1778538201732,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,12,29]]},"abstract":"The intention of this research is to investigate how interaction designers may explore felt time through the culinary practice of sourdough baking. In this exposition we share how the physical experience and manipulation\/shaping of time in sourdough baking provides an experience of fulfillment and satisfaction. We show our insights on how interaction designers, and possibly many other communities of practice and discourse, may learn from this. \n\nThe goal is to inspire the audience to engage in a broad and critical discourse around felt time and to emphasize the value of prototyping a felt time repertoire in interaction design. The research exploration is built on the collaboration between an interaction designer\/researcher, a culinary connoisseur baker and a sculptor\/design researcher and teacher.<\/jats:p>","DOI":"10.22501\/jar.1039453","type":"journal-article","created":{"date-parts":[[2020,12,29]],"date-time":"2020-12-29T11:34:00Z","timestamp":1609241640000},"source":"Crossref","is-referenced-by-count":2,"title":["Exploring and Prototyping the Aesthetics of Felt Time"],"prefix":"10.22501","author":[{"family":"Elsa Kosmack Vaara","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Cheryl Akner Koler","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:05Z","timestamp":1727193125000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1039453\/1097689"}},"issued":{"date-parts":[[2020,12,29]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jar.1039453","published":{"date-parts":[[2020,12,29]]}},{"indexed":{"date-parts":[[2026,3,8]],"date-time":"2026-03-08T04:08:13Z","timestamp":1772942893231,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,7]],"date-time":"2026-03-07T00:00:00Z","timestamp":1772841600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article examines the musical legacy of 20th-century piano composers through the lens of modern educational technologies. The focus is on analyzing the transformations in the study and mastery of piano pieces by the integration of digital tools and resources in educational process , as well as on the application of a transgressive approach in piano education. The article provides examples of integrating digital resources into educational practices and offers recommendations for their effective use in studying musical heritage in piano classes.<\/jats:p>\n keywords: Music Education, piano practice, piano pedagogy, XX century, new technologies, education, musicality<\/jats:p>","DOI":"10.22501\/rc.4244792","type":"posted-content","created":{"date-parts":[[2026,3,7]],"date-time":"2026-03-07T12:04:26Z","timestamp":1772885066000},"source":"Crossref","is-referenced-by-count":0,"title":["Integrating Contemporary Educational Technologies into the Study of 20th-Century Foreign Piano Repertoire"],"prefix":"10.22501","author":[{"family":"Angelina Tarlovskaia","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,7]],"date-time":"2026-03-07T12:04:26Z","timestamp":1772885066000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4244792\/4244793"}},"issued":{"date-parts":[[2026,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4244792","published":{"date-parts":[[2026,3,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T15:03:32Z","timestamp":1779807812434,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"Media scores\u2014expansion of musical notation that incorporate other modalities, particularly enabling interactive and generative elements\u2014have reshaped the relationships between composer, score, and performer. This essay examines nine distinct attributes of the media score that differentiate it from traditional notation. Through historical and contemporary examples, the discussion highlights how these attributes manifest in various artistic practices. Additionally, the author's own compositions are cited, with particular focus on Mutability, a large-scale collaborative project that highlights many of the elements discussed in the paper.<\/jats:p>\n keywords: media scores, meta, interactivity, visual scores, composition, mutability, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/koncon.3298908","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:23:39Z","timestamp":1779805419000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond Paper: Attributes of the Media Score"],"prefix":"10.22501","author":[{"family":"Yannis Kyriakides","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:23:39Z","timestamp":1779805419000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3298908\/3298909"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3298908","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:11:28Z","timestamp":1779804688136,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"This research demonstrates that a deep understanding of the technical and acoustic properties of horn mutes has a direct impact on a player\u2019s musical practice. Knowledge of how different mutes affect timbre, resonance, projection, and intonation influences the way horn players approach muted passages, both in solo performance and within orchestral sections. The findings show that informed mute usage allows for greater control of sound quality and improved ensemble cohesion, while a lack of such knowledge often leads to technical insecurity and inconsistent musical results.The study also reveals a significant gap in formal horn pedagogy regarding mute use. Despite the frequent appearance of muted passages in the repertoire, systematic training on this subject is largely absent, leaving many performers to rely on trial and error. Input from professional horn players and teachers confirms the need for clearer guidance concerning muted playing.The chosen presentation format shows these findings by combining an analytical presentation of the results with a concise, practical guide. This guide summarizes the most relevant technical and acoustic aspects of horn mutes and is intended as an accessible resource for students and professional musicians. By presenting the research outcomes in both an explanatory and applied format, the project aims to facilitate the transfer of knowledge from research to everyday performance practice.<\/jats:p>\n keywords: Horn, French horn, Instruments and Techniques, mute, instrument building<\/jats:p>","DOI":"10.22501\/koncon.3944849","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:29:52Z","timestamp":1779802192000},"source":"Crossref","is-referenced-by-count":0,"title":["Technical and Acoustic Study on the Horn Mutes. A guide for their proper use in performance"],"prefix":"10.22501","author":[{"family":"Diego Palacio Buil","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:29:53Z","timestamp":1779802193000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3944849\/3944850"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3944849","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T23:46:58Z","timestamp":1773964018074,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T00:00:00Z","timestamp":1773878400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2026,3,19]]},"abstract":"This experiment began with the translation of a poem for a film set in the Eleonas refugee camp in Athens. The poem, Pier Paolo Pasolini\u2019s Athens, is a portrait of an enigmatic place on a summer evening, in times of uncertainty. Originally, the purpose of the translation was simply to produce a Farsi version that the actor could recite in the camp, but curiosity about translation evolved and grew into a collaborative process. How does translation complicate the themes of the film, such as migration, refugeeism, belonging and not belonging? What might translations into other languages and across mediums reveal about Pasolini\u2019s poem, my film, and about poetry, language, and cinema more broadly? I invited artists, historians, architects to translate excerpts from the same poem into their native languages \u2013 Yoruba, Arabic, Farsi, Basque, Maltese, Tagalog, Polish, Greek \u2013 and to discuss the process. The poem has not only travelled between languages, but also across mediums \u2013 written text, audio recording, performance, and film. This exposition is my record of these dialogues and processes\u2014a personal, albeit polyphonic notebook on translation.<\/jats:p>\n keywords: translation, Film-making, Pasolini, Migration, Eleonas, refugee camp, language<\/jats:p>","DOI":"10.22501\/vis.3668350","type":"journal-article","created":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T21:13:37Z","timestamp":1773954817000},"source":"Crossref","is-referenced-by-count":0,"title":["passages in translation"],"prefix":"10.22501","author":[{"family":"Ektoras Arkomanis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T21:13:37Z","timestamp":1773954817000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3668350\/3679534"}},"issued":{"date-parts":[[2026,3,19]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/vis.3668350","published":{"date-parts":[[2026,3,19]]}},{"indexed":{"date-parts":[[2026,4,13]],"date-time":"2026-04-13T22:28:08Z","timestamp":1776119288368,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,5,8]]},"abstract":"This paper traces the relationship between art and atrocity, materiality and decay, and the aural possibilities of hospitality in a time of terror. There is one site in particular that seems to speak so poignantly to the complex workings of trauma, ruin, and memory, and it is the use of sound in this place that I wish to draw attention to here. The September 11 Memorial and Museum may not appear, at first, to signal the ways in which sound might usher in a new way of thinking about the philosophically complex concept of hospitality nor the promises of decay. Yet, one installation in particular manages to do just that. Located in the Museum\u2019s Historical Exhibition, and evocative of death, mourning, and haunting, William Basinski\u2019s sound and video installation, The Disintegration Loops, offers a fitting yet unique elegy to the loss of the towers and nearly 3,000 innocent people. Additionally, this work also carries within itself far more: layers of meaning and spectral traces that are often missed during singular visits by museum guests and that recall aspects of memory and materiality crucial to the question of what it means to live alongside others. I want to suggest that, while existing as a differentiated work in its own right, it is through its in-situ role \u2013 a ruin in a place of ruins \u2013 that The Disintegration Loops recalls one of the most complex and contradictory paradigms for thinking about loss and for mourning alongside strangers. It initiates, I argue, a philosophy of hospitality that is, defined in this context, uniquely preoccupied with ideas of strangers, belonging, home, and homelessness and an ethics concerned with \u201cdas Unheimliche\u201d or something odd that is not quite at home yet nonetheless present in that space. In this paper I will discuss the significance of Basinski\u2019s work to aural and material memory and explore the concepts of ruins and dust to arrive at one of hospitality\u2019s most startling and uncanny figures, a figure of autoimmunity that is powerfully raised in Basinski\u2019s work, making it one of the most compelling pieces of art in the Museum.<\/jats:p>","DOI":"10.22501\/jss.455115","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:03Z","timestamp":1733149623000},"source":"Crossref","is-referenced-by-count":1,"title":["Traumatic Ruins and The Archeology of Sound: William Basinski\u2019s The Disintegration Loops"],"prefix":"10.22501","author":[{"family":"Lindsay Balfour","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:04Z","timestamp":1733149624000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/455115\/455116"}},"issued":{"date-parts":[[2018,5,8]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/jss.455115","published":{"date-parts":[[2018,5,8]]}},{"indexed":{"date-parts":[[2024,10,9]],"date-time":"2024-10-09T04:23:09Z","timestamp":1728447789996},"posted":{"date-parts":[[2024,10,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition present my study about Korean traditional music in combination with improvisation and composition. It focuses specially on Korean rhythm with both the Korean drum janggu, and the drum kit. \nI am going to present my work by giving an insight on my practice methods, discoveries and compositional work. And show how I gradually developed this project during my masters study. \nThis exposition also explores a theme related to identity, and finding back to ones roots through learning traditional music.<\/jats:p>","DOI":"10.22501\/rc.2794214","type":"posted-content","created":{"date-parts":[[2024,10,8]],"date-time":"2024-10-08T10:26:42Z","timestamp":1728383202000},"source":"Crossref","is-referenced-by-count":0,"title":["Searching for Korean traditional music \u2013 Exploring rhythms and improvisational possibilities"],"prefix":"10.22501","author":[{"family":"Michael Lee S\u00f8renmo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,10,8]],"date-time":"2024-10-08T10:26:42Z","timestamp":1728383202000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2794214\/2794215"}},"issued":{"date-parts":[[2024,10,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2794214","published":{"date-parts":[[2024,10,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:13Z","timestamp":1733202793829,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"06","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"In today\u2019s multimedia world, an understanding of non-visual modalities, particularly sound, is of great benefit to design. With the use of digital technologies within design and art practices, the affordances for sound are frequently present, but often under-used and misunderstood by those with an education that privileges the visual mode at the expense of other modalities. Despite the importance of sound within multimedia applications and the fact that digital art, video games, film, branding, and product design today all require some understanding of the sonic realm, art and design students often complete their degrees without following a single class related to sound and its perception. In this paper, we introduce several exercises undertaken in interdisciplinary sound design courses taught to undergraduate designers, artists, and game developers with the aim of illustrating a scaffolding approach to teaching about sound.<\/jats:p>","DOI":"10.22501\/jss.236292","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:48Z","timestamp":1733149548000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound Design for Media: Introducing Students to Sound"],"prefix":"10.22501","author":[{"family":"Karen Collins","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:49Z","timestamp":1733149549000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/236292\/236293"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"06"},"URL":"https:\/\/doi.org\/10.22501\/jss.236292","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:16Z","timestamp":1733202796349,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,29]]},"abstract":"This paper proposes a pragmatic response to the broad philosophical question of what constitutes a soundscape and in what ways it might resonate through consciousness and perception. It also discusses phonography, criticizes its incapability to capture the essence of environmental sound, and explains how a series of artistic practices emerged and established themselves within the non-linearities of the recording-reproduction paradigm. Further, it elaborates on how sound art inaugurates new ways of perceiving, thinking about and representing soundscapes, accordingly. In this respect, several examples are discussed, including a selection of works by the author.<\/jats:p>","DOI":"10.22501\/jss.268080","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:52Z","timestamp":1733149552000},"source":"Crossref","is-referenced-by-count":0,"title":["ON SOUNDSCAPES, PHONOGRAPHY, AND ENVIRONMENTAL SOUND ART"],"prefix":"10.22501","author":[{"family":"Marinos Koutsomichalis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:52Z","timestamp":1733149552000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/268080\/268081"}},"issued":{"date-parts":[[2018,6,29]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.268080","published":{"date-parts":[[2018,6,29]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:17Z","timestamp":1733202797964,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"When we listen affectively, we listen with and to our bodies. The ear-becoming-body. When a sound does not carry any identifiable, decodable, or communicative message, it affects the listening body in the way touching does. Sound touches the listening body, causing concretely felt intensities before the mind knows. Affective listening is a commitment to forces, intensities and becoming. One listens to the Qi or \u201chaecceities\u201d of sound, which are only later reduced and signified as harmony, melody, or emotions (Cox 2011; Deleuze and Guattari 1987; Massumi 2002). Affective listening resembles Buddhist meditation in that both emphasize the practice of Qi (of body-mind-soul) rather than the mind alone, and both lead to self-transforming rather than self-transcending. In the context of Chinese experimental music and sound art practice, affective listening functions as the cultivation of the self, aspiring to the state of selflessness. This paper presents the initial stage of a larger project to formulate the model of \u201caffective listening\u201d as a mode afforded by China\u2019s free improvisation and experimental music practices.<\/jats:p>","DOI":"10.22501\/jss.229681","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:56Z","timestamp":1733149556000},"source":"Crossref","is-referenced-by-count":0,"title":["AFFECTIVE LISTENING: China\u2019s Experimental Music and Sound Art Practice"],"prefix":"10.22501","author":[{"family":"Adel Wang Jing","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:56Z","timestamp":1733149556000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/229681\/229682"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/jss.229681","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:21Z","timestamp":1733202801232,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"07","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,6,26]]},"abstract":"The phenomenon of noise has resisted many attempts at framing it within a singular conceptual framework. Critically questioning the tendency to do so, this article asserts the complexities of different noise-phenomena by analysing a specific technology: technological noise reduction systems. Whereas Sterne describes how engineers have sought to eradicate noise in order to reach what Dolby Laboratories called an \u2018exceptional purity of sound,\u2019 Serres and Kittler repeatedly stress that the presence of noise is not only inevitable, but even fundamental to sound and sound recording. Working at the crossroads of noise as a concept in information theory and noise as a physical and sonic phenomenon, a close reading of technological noise reduction shows how it not only produces its own notion of noise in the very process of reducing it, but even generates noise itself. Ultimately, this analysis offers valuable insights into the complexity of noise and the multiple levels on which it operates.<\/jats:p>","DOI":"10.22501\/jss.84544","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:09Z","timestamp":1733149629000},"source":"Crossref","is-referenced-by-count":0,"title":["An Exceptional Purity of Sound: Noise reduction technology and the inevitable noise of sound recording"],"prefix":"10.22501","author":[{"family":"Melle Kromhout","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:09Z","timestamp":1733149629000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/84544\/84545"}},"issued":{"date-parts":[[2014,6,26]]},"references-count":0,"journal-issue":{"issue":"07"},"URL":"https:\/\/doi.org\/10.22501\/jss.84544","published":{"date-parts":[[2014,6,26]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:30Z","timestamp":1733202750653,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"05","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,28]]},"abstract":"All JSS issues up to now, perhaps with the exception of JSS1, have been special ones, dealing with a specific theme: listening, television sounds, sonic epistemologies. (The upcoming JSS6 will be devoted to sound design, by the way.) JSS5 is special in another way: seldom will an issue of a journal be filled completely by texts and A\/V materials composed by the editors of that journal themselves. Editors typically provide an opportunity to others to present their work, their experiences, their thoughts, their research, their findings; this time, however, the JSS editors use their own journal as a platform to display some of their own reflections on sound studies and sound art.[1] Shameless self-promotion or healthy pragmatism? The most important reason is that we think that the two items presented in this issue \u2013 a report of an expert meeting on auditory culture and a handful of mini-essays inspired by a sound art exhibition \u2013 might interest our readers: the first because it features efforts to transgress scientific and academic barriers in and through sound studies, the second because it presents a new way to write around sound art.<\/jats:p>","DOI":"10.22501\/jss.484851","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:52Z","timestamp":1733149552000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial: One Month in the Life of the JSS Editors"],"prefix":"10.22501","author":[{"family":"Marcel Cobussen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:52Z","timestamp":1733149552000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/484851\/484852"}},"issued":{"date-parts":[[2018,6,28]]},"references-count":0,"journal-issue":{"issue":"05"},"URL":"https:\/\/doi.org\/10.22501\/jss.484851","published":{"date-parts":[[2018,6,28]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:31Z","timestamp":1733202751727,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,10]]},"abstract":"In his composition \u201cNew Moon\u201d (Tr\u0103ng non), saxophonist Tr\u1ea7n M\u1ea1nh Tu\u1ea5n appropriates sounds from the musical cultures of Vietnam\u2019s ethnic minorities to create a fusion of regional Vietnamese and international jazz music. The musical cultures are reduced to the raw sounds of instrument timbres which are then reformulated as part of a new popular style by the composer. His detachment of these sounds from the minority cultures and propagation of them as sonic referents to an internal Other nurtures an essentialized understanding of the minorities as different and distant from the urban majority. This research deploys Georgina Born\u2019s proposal of four planes of distinct socialities that are mediated by music and sound (2011) to examine how the musical domestication of these ethnic-themed sounds contributes to the conceptualization of new economically-endowed social classes in urban Vietnam.<\/jats:p>","DOI":"10.22501\/jss.282456","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:58Z","timestamp":1733149618000},"source":"Crossref","is-referenced-by-count":0,"title":["Domesticated Noise: The Musical Reformation of Identity in Urban Vietnam"],"prefix":"10.22501","author":[{"family":"Lonan O Briain","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:58Z","timestamp":1733149618000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/282456\/282457"}},"issued":{"date-parts":[[2016,7,10]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.282456","published":{"date-parts":[[2016,7,10]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:34Z","timestamp":1733202754601,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"08","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,12,1]]},"abstract":"In 1956 the Swedish poet Harry Martinson published Aniara, a poetic narrative set in a distant future and based on the idea that the Earth has been contaminated with nuclear fallout from atomic bombs and has become uninhabitable. A fleet of spacecraft ferry people to Mars and Venus, where the population of the Earth must be evacuated. One of these spaceships is called Aniara. Soon after take-off, she is involved in a collision that renders her steering gear nonfunctional. Consequently, she veers off course, setting out on a journey into space with no possibility of ever reaching her destination. The reader follows the fate of the passengers and crew during the next 24 years as they try to adapt to life in the spaceship. In 1959 the opera Aniara by Karl-Birger Blomdahl premiered at the Royal Swedish Opera in Stockholm. One of the features that attracted widespread attention was the Mima tapes \u2013 that is, taped electro-acoustic music and musique concr\u00e8te used to represent the sound sequences emanating from a computer-like machine called the mima on board the spaceship Aniara. To create the Mima tapes, the composer and the librettist used key phrases from different songs in Martinson\u2019s epic. By using this device in an opera about mankind set in a remote future, Blomdahl was able to create an affinity between music and subject matter.<\/jats:p>","DOI":"10.22501\/jss.108969","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:20Z","timestamp":1733149640000},"source":"Crossref","is-referenced-by-count":0,"title":["The Significance of Electro-acoustic Music in the Space Opera Aniara"],"prefix":"10.22501","author":[{"family":"Johan Stenstr\u00f8m","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:20Z","timestamp":1733149640000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/108969\/108970"}},"issued":{"date-parts":[[2014,12,1]]},"references-count":0,"journal-issue":{"issue":"08"},"URL":"https:\/\/doi.org\/10.22501\/jss.108969","published":{"date-parts":[[2014,12,1]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:18Z","timestamp":1727238618941},"posted":{"date-parts":[[2024,8,30]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u0397 \u03b1\u03bd\u03b1\u03c0\u03bd\u03bf\u03ae \u03ba\u03b1\u03b9 \u03b7 \u03c3\u03c4\u03ac\u03c3\u03b7 \u03c4\u03bf\u03c5 \u03c3\u03ce\u03bc\u03b1\u03c4\u03bf\u03c2,\n\u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03b9\u03b4\u03b1\u03bd\u03b9\u03ba\u03ae \u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae \u03c4\u03bf\u03c5 \u03ae\u03c7\u03bf\u03c5 \u03bc\u03b5 \u03ad\u03bc\u03c6\u03b1\u03c3\u03b7 \u03c3\u03c4\u03bf \u03cc\u03bc\u03c0\u03bf\u03b5.\n\n\u03a3\u03c5\u03b3\u03b3\u03c1\u03ac\u03c6\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b1 \u03c0\u03bb\u03b1\u03af\u03c3\u03b9\u03b1 \u03c4\u03bf\u03c5 \u03b4\u03b9\u03b4\u03ac\u03c3\u03ba\u03bf\u03bd\u03c4\u03bf\u03c2 \u03bc\u03b1\u03b8\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2: \u03a0\u03b1\u03b9\u03b4\u03b1\u03b3\u03c9\u03b3\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u0394\u03b9\u03b4\u03b1\u03ba\u03c4\u03b9\u03ba\u03ae \u039f\u03c1\u03b3\u03ac\u03bd\u03bf\u03c5 \u0399\u0399\u0399, \u03c4\u03bf\u03c5 \u03a4\u03bc\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2\n\u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ce\u03bd \u03a3\u03c0\u03bf\u03c5\u03b4\u03ce\u03bd, \u03c4\u03bf\u03c5 \u0399\u03cc\u03bd\u03b9\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5, \u03c4\u03bf \u03ad\u03c4\u03bf\u03c2 2016.\n\n\u039f \u03c3\u03ba\u03bf\u03c0\u03cc\u03c2 \u03c4\u03b7\u03c2 \u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1\u03c2 \u03b5\u03af\u03bd\u03b1\u03b9 \u03b4\u03b9\u03c4\u03c4\u03cc\u03c2, \u03bd\u03b1 \u03b4\u03bf\u03b8\u03b5\u03af \u03bc\u03af\u03b1 \u03c3\u03cd\u03bd\u03c4\u03bf\u03bc\u03b7 \u03c0\u03b5\u03c1\u03b9\u03b3\u03c1\u03b1\u03c6\u03ae \u03c4\u03b7\u03c2 \u03bb\u03b5\u03b9\u03c4\u03bf\u03c5\u03c1\u03b3\u03af\u03b1\u03c2 \u03c4\u03bf\u03c5 \u03b1\u03bd\u03b1\u03c0\u03bd\u03b5\u03c5\u03c3\u03c4\u03b9\u03ba\u03bf\u03cd \u03c3\u03c5\u03c3\u03c4\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2 \u03bc\u03b5 \u03c4\u03b5\u03ba\u03bc\u03b7\u03c1\u03b9\u03c9\u03bc\u03ad\u03bd\u03b1 \u03c0\u03b1\u03c1\u03b1\u03b4\u03b5\u03af\u03b3\u03bc\u03b1\u03c4\u03b1, \u03c0\u03ce\u03c2 \u03b7 ''\u03bf\u03c1\u03b8\u03ae'' \u03c3\u03c4\u03ac\u03c3\u03b7 \u03c4\u03bf\u03c5 \u03c3\u03ce\u03bc\u03b1\u03c4\u03bf\u03c2 \u03b5\u03c0\u03b7\u03c1\u03b5\u03ac\u03b6\u03b5\u03b9 \u03c4\u03b7\u03bd \u03bb\u03b5\u03b9\u03c4\u03bf\u03c5\u03c1\u03b3\u03af\u03b1 \u03c4\u03bf\u03c5 \u03b1\u03bd\u03b1\u03c0\u03bd\u03b5\u03c5\u03c3\u03c4\u03b9\u03ba\u03bf\u03cd \u03c3\u03c5\u03c3\u03c4\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2. \u0391\u03bb\u03bb\u03ac \u03ba\u03b1\u03b9 \u03bd\u03b1 \u03c3\u03c5\u03bc\u03b2\u03ac\u03bb\u03bb\u03b5\u03b9 \u03c3\u03c4\u03bf\u03bd \u03c4\u03c1\u03cc\u03c0\u03bf \u03b4\u03b9\u03b4\u03b1\u03c3\u03ba\u03b1\u03bb\u03af\u03b1\u03c2 \u03c4\u03b7\u03c2 \u03b1\u03bd\u03b1\u03c0\u03bd\u03bf\u03ae\u03c2, \u03b3\u03b9\u03b1 \u03bc\u03af\u03b1 \u03b9\u03b4\u03b1\u03bd\u03b9\u03ba\u03ae \u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae \u03c4\u03bf\u03c5 \u03ae\u03c7\u03bf\u03c5, \u03ba\u03c5\u03c1\u03af\u03c9\u03c2 \u03c3\u03c4\u03bf \u03cc\u03c1\u03b3\u03b1\u03bd\u03bf - \u03cc\u03bc\u03c0\u03bf\u03b5, \u03cc\u03c0\u03bf\u03c5 \u03ad\u03c7\u03b5\u03b9 \u03b9\u03b4\u03b9\u03b1\u03af\u03c4\u03b5\u03c1\u03b1 \u03c7\u03b1\u03c1\u03b1\u03ba\u03c4\u03b7\u03c1\u03b9\u03c3\u03c4\u03b9\u03ba\u03ac \u03bb\u03cc\u03b3\u03c9 \u03c4\u03b7\u03c2 \u03c6\u03c5\u03c3\u03b9\u03bf\u03bb\u03bf\u03b3\u03af\u03b1\u03c2 \u03c4\u03bf\u03c5 \u03bf\u03c1\u03b3\u03ac\u03bd\u03bf\u03c5.\n\n\u0395\u03c0\u03b9\u03c0\u03bb\u03ad\u03bf\u03bd, \u03cc\u03c3\u03bf\u03bd \u03b1\u03c6\u03bf\u03c1\u03ac \u03c4\u03b7\u03bd \u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ae \u03c4\u03b7\u03c2 \u03b1\u03bd\u03b1\u03c0\u03bd\u03bf\u03ae\u03c2 \u03b4\u03af\u03bd\u03b5\u03b9 \u03bc\u03af\u03b1 \u03b5\u03bd\u03b1\u03bb\u03bb\u03b1\u03ba\u03c4\u03b9\u03ba\u03ae \u03bf\u03c0\u03c4\u03b9\u03ba\u03ae, \u03c0\u03ad\u03c1\u03b1 \u03c4\u03bf ''\u03bc\u03b7\u03c7\u03b1\u03bd\u03b9\u03ba\u03cc'' \u03c3\u03c4\u03bf\u03b9\u03c7\u03b5\u03af\u03bf \u03c4\u03b7\u03c2, \u03b1\u03bb\u03bb\u03ac \u03c0\u03b5\u03c1\u03b9\u03c3\u03c3\u03cc\u03c4\u03b5\u03c1\u03bf \u03c9\u03c2 \u03ad\u03bd\u03b1 \u03b1\u03bd\u03b1\u03c0\u03cc\u03c3\u03c0\u03b1\u03c3\u03c4\u03bf \u03ba\u03bf\u03bc\u03bc\u03ac\u03c4\u03b9 \u03c4\u03b7\u03c2 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2 \u03b3\u03bb\u03ce\u03c3\u03c3\u03b1\u03c2, \u03bc\u03b5 \u03c0\u03bf\u03b9\u03bf\u03c4\u03b9\u03ba\u03ac \u03c7\u03b1\u03c1\u03b1\u03ba\u03c4\u03b7\u03c1\u03b9\u03c3\u03c4\u03b9\u03ba\u03ac. \u03a3\u03c5\u03bc\u03c0\u03bb\u03b7\u03c1\u03c9\u03bc\u03b1\u03c4\u03b9\u03ba\u03ac, \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03b9\u03ac\u03b6\u03bf\u03bd\u03c4\u03b1\u03b9 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03b5\u03c2 \u03b1\u03c3\u03ba\u03ae\u03c3\u03b5\u03b9\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03b1\u03bd\u03b1\u03c0\u03bd\u03bf\u03ae, \u03bc\u03b5 \u03c4\u03b7\u03bd \u03ba\u03ac\u03b8\u03b5 \u03ac\u03c3\u03ba\u03b7\u03c3\u03b7 \u03bd\u03b1 \u03b1\u03c0\u03bf\u03c3\u03ba\u03bf\u03c0\u03b5\u03af \u03c3\u03b5 \u03ad\u03bd\u03b1\u03bd \u03b4\u03b9\u03b1\u03c6\u03bf\u03c1\u03b5\u03c4\u03b9\u03ba\u03cc \u03c3\u03ba\u03bf\u03c0\u03cc. \u039f\u03b9 \u03b1\u03c3\u03ba\u03ae\u03c3\u03b5\u03b9\u03c2 \u03ba\u03c5\u03c1\u03af\u03c9\u03c2 \u03b1\u03c6\u03bf\u03c1\u03bf\u03cd\u03bd \u03c4\u03bf\u03c5\u03c2 \u03bf\u03bc\u03c0\u03bf\u0390\u03c3\u03c4\u03b5\u03c2, \u03bb\u03cc\u03b3\u03c9 \u03c4\u03bf\u03c5 \u03b9\u03b4\u03b9\u03b1\u03af\u03c4\u03b5\u03c1\u03bf\u03c5 \u03c3\u03c5\u03bd\u03b4\u03c5\u03b1\u03c3\u03bc\u03bf\u03cd \u03c4\u03b7\u03c2 \u03b1\u03bd\u03b1\u03c0\u03bd\u03bf\u03ae\u03c2 \u03bc\u03b5 \u03c4\u03bf \u03ba\u03b1\u03bb\u03ac\u03bc\u03b9 \u03c4\u03bf\u03c5 \u03cc\u03bc\u03c0\u03bf\u03b5 \u03ba\u03b1\u03b9 \u03c4\u03c9\u03bd \u03c0\u03bf\u03b9\u03ba\u03af\u03bb\u03c9\u03bd \u03c7\u03b1\u03c1\u03b1\u03ba\u03c4\u03b7\u03c1\u03b9\u03c3\u03c4\u03b9\u03ba\u03ce\u03bd \u03c4\u03bf\u03c5.\n\n\u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c2 \u03a4\u03c3\u03cc\u03b3\u03b9\u03b1\u03c2-\u03a1\u03b1\u03b6\u03ac\u03ba\u03bf\u03b2\n\u03a0\u03b1\u03b9\u03b4\u03b1\u03b3\u03c9\u03b3\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u0394\u03b9\u03b4\u03b1\u03ba\u03c4\u03b9\u03ba\u03ae \u039f\u03c1\u03b3\u03ac\u03bd\u03bf\u03c5 \u0399\u0399\u0399.\n\u039a\u03ad\u03c1\u03ba\u03c5\u03c1\u03b1: \u0399\u03cc\u03bd\u03b9\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf, 2016.<\/jats:p>","DOI":"10.22501\/rc.2986680","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T15:38:58Z","timestamp":1725550738000},"source":"Crossref","is-referenced-by-count":0,"title":["\u0397 \u0391\u039d\u0391\u03a0\u039d\u039f\u0397 \u039a\u0391\u0399 \u0397 \u03a3\u03a4\u0391\u03a3\u0397 \u03a4\u039f\u03a5 \u03a3\u03a9\u039c\u0391\u03a4\u039f\u03a3, \u0393\u0399\u0391 \u03a4\u0397\u039d \u0399\u0394\u0391\u039d\u0399\u039a\u0397 \u03a0\u0391\u03a1\u0391\u0393\u03a9\u0393\u0397 \u03a4\u039f\u03a5 \u0389\u03a7\u039f\u03a5 \u039c\u0395 \u0388\u039c\u03a6\u0391\u03a3\u0397 \u03a3\u03a4\u039f \u038c\u039c\u03a0\u039f\u0395."],"prefix":"10.22501","author":[{"family":"\u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c2 \u03a4\u03c3\u03cc\u03b3\u03b9\u03b1\u03c2-\u03a1\u03b1\u03b6\u03ac\u03ba\u03bf\u03b2","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:40:51Z","timestamp":1727192451000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2986680\/2986679"}},"issued":{"date-parts":[[2024,8,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2986680","published":{"date-parts":[[2024,8,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:18Z","timestamp":1727238618299},"posted":{"date-parts":[[2022,2,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The course Place to Action - Art that Interferes is motivated and inspired by places. More specifically: the histories, contexts, narratives, situations, circumstances and people\u2019s interactions and intra-actions and relationships with locations, which form places. Lingering in places with attention, listening to them and experimenting the possible ways of movement within them. \nThese attentive gazes of places will initiate interdisciplinary artistic actions and interventions that aim to explore and reflect the possibilities of art to interfere. \nHere on this exposition the group will share their findings and actions.<\/jats:p>","DOI":"10.22501\/rc.1382025","type":"posted-content","created":{"date-parts":[[2022,2,9]],"date-time":"2022-02-09T14:36:56Z","timestamp":1644417416000},"source":"Crossref","is-referenced-by-count":0,"title":["Place to Action! Art that Inteferes"],"prefix":"10.22501","author":[{"family":"Thalia Hoffman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Yannick Schop","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Lakisha Apostel","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Maryam Touzani","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Alicia Cotillas V\u00e9lez","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Robin Whitehouse","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"B\u00f8dvar Hole","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Miro Gutjahr","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"\u017dilvinas Baranauskas","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Anne-Claire Flora Mackenzie","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Gaetan Langlois-Meurinne","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:53Z","timestamp":1727192693000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1382025\/1479305"}},"issued":{"date-parts":[[2022,2,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1382025","published":{"date-parts":[[2022,2,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:02Z","timestamp":1727238662681},"posted":{"date-parts":[[2024,4,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"WALKING BETWEEN WOR[L]DS WITH LINES is a workshop. It was delivered at Convocation II, Vienna, 2023, a gathering arranged and facilitated by the Language-Based Artistic Research Group. \n\nOBJECTIVE:\nThe objective of this research is to explore how, in the absence of vision, the body, language and landscape combine to form a particular type of cartographic, text-informed, mental image in the mind, that is both a record of movement and a score for future object intra-actions. \nOrdinarily, I fill the role of blindfolded navigator, with a colleague playing the role of the sighted interlocutor. This activity flipped these roles, enabling me to utilise the experience I have acquired through navigating many forests without sight, to assist participants in navigating blindfold through the landscape of Convocation II, Zentrum Fokus Forschung (ZFF). The blurring of physical site and temporal event is deliberate here, the activity of navigating blindfolded with the body generatively blending with psychic travel in the mind. This is an opportunity for participants to think about how vision enables a particular version of the wor[l]d, and to speculate on what other kinds of wor[l]d might be possible in vision\u2019s absence.<\/jats:p>","DOI":"10.22501\/rc.2674514","type":"posted-content","created":{"date-parts":[[2024,4,4]],"date-time":"2024-04-04T13:47:39Z","timestamp":1712238459000},"source":"Crossref","is-referenced-by-count":0,"title":["WALKING BETWEEN WOR[L]DS WITH LINES"],"prefix":"10.22501","author":[{"family":"Benjamin Jenner","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:25Z","timestamp":1727192485000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2674514\/2674515"}},"issued":{"date-parts":[[2024,4,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2674514","published":{"date-parts":[[2024,4,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671932},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,9,27]]},"abstract":"Virtual reality and spatial audio technologies bring about a new paradigm in the fields of architecture and music. Works developed in these media produce experiences beyond what is perceivable in the physical world, extending therefore our capacities to design\/compose as well as our sensibilities for spatial and temporal perception. By operating in the spatiotemporal domain, these new media, question our disciplinary understandings of space and time as well as their aesthetics, requiring an altogether new post-disciplinary conception of design\/composition and experience.\n\"Beyond the Visual\" is a research curriculum for the investigation of spatiotemporal aesthetics, in the interface between architecture and music, in regard to perception and creativity and design\/composition.\n\nThis exposition is part of the research agenda of the Society of Artistic Research Special Interest Group (SIG): Spatial Aesthetics and Artificial Environments.<\/jats:p>","DOI":"10.22501\/jar.815001","type":"journal-article","created":{"date-parts":[[2021,9,29]],"date-time":"2021-09-29T01:06:29Z","timestamp":1632877589000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond the Visual - A research curriculum for explorations in spatiotemporal environments"],"prefix":"10.22501","author":[{"family":"Constantinos Miltiadis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Gerriet K. Sharma","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:02Z","timestamp":1727193122000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/815001\/815002"}},"issued":{"date-parts":[[2021,9,27]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jar.815001","published":{"date-parts":[[2021,9,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:14Z","timestamp":1727238674734},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,12,30]]},"abstract":"Using a \u2018performer-centric\u2019 working method, artistic researchers Joel Diegert and Adri\u00e1n Artacho investigate the potential of integrating the saxophone with real-time electronics. The musical work, 'aubiome', is used as a case study to demonstrate their collaborative co-creative approach. The six-stage, iterative working process that emerged during the aubiome project is broken down and described in detail.<\/jats:p>","DOI":"10.22501\/jar.643746","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T09:55:40Z","timestamp":1640858140000},"source":"Crossref","is-referenced-by-count":0,"title":["Aubiome: A Collaborative Method for the Production of Interactive Electronic Music"],"prefix":"10.22501","author":[{"family":"Joel Diegert","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Adrian Artacho","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:55Z","timestamp":1727193115000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/643746\/652150"}},"issued":{"date-parts":[[2021,12,30]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jar.643746","published":{"date-parts":[[2021,12,30]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:14Z","timestamp":1727238674748},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2019,6,28]]},"abstract":"This exposition provides an example of how art can offer an alternative way of understanding the past through my work \u201c50 Billion Micrograms\u201d. The project explored a forgotten media event from 1979, in which a gigantic meteorite supposedly landed in a remote lake on the west coast of Norway. The exposition attempts to demonstrate how ambiguity was a fuel the project. In the process what I call \"fluctuating thinking\" was an important method. This meant that I let seemingly irrelevant and speculative elements be part of the process. In this process, the different conceptual and aesthetic elements had to be studied carefully to consider whether random ideas and speculative elements were relevant for the work. However, such an open-ended approach is often fundamental to artistic research, I argue. I had no hope of finding the answer about the meteorite or explaining this natural phenomenon. My interest was to dwell on the uncertainty and keep the wondering alive. What became increasingly important was to explore the search itself through images and sound. The exposition also ask what is an event, what keeps an event alive? Were does fact and fiction interlace?<\/jats:p>","DOI":"10.22501\/jar.427822","type":"journal-article","created":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T08:26:59Z","timestamp":1561710419000},"source":"Crossref","is-referenced-by-count":0,"title":["50 Billion Micrograms. In the Search of the Aftermath of an Event"],"prefix":"10.22501","author":[{"family":"Christine Hansen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:30Z","timestamp":1727193150000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/427822\/427823"}},"issued":{"date-parts":[[2019,6,28]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/jar.427822","published":{"date-parts":[[2019,6,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:16Z","timestamp":1727238676824},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,6,30]]},"abstract":"In my thesis Performing Music Theory, I will examine how listening to recordings of musical performances may influence my analysis of Chopin\u2019s First Ballade. Therefore, I take the music as heard in performance as the starting point for the analysis, rather than the score. By consulting recorded performances by various pianists, I will analyze how different performances may lead to different analyses. These analytical observations will concern phrase structure, harmony, topical analysis and form. The interpretation of form in particular is highly dependent on tempo choices that pianists make. In the case of the First Ballade, a piece with very few tempo indications, these choices vary widely. \nI will show that in some cases clear analytical conclusions can be drawn from performances. And in other cases, rather far-fetched theoretical analyses must be made to describe the performer\u2019s choices, demonstrating how problematic it is to base an analysis entirely on performances. What does that mean for the relationship between performer and theorist, and more particularly for the position of the \u2018prescribing\u2019 theorist, who considers analysis as a starting point in a musical interpretation? And what does this mean for the importance of the Analysis course at conservatories?<\/jats:p>","DOI":"10.22501\/rc.1530304","type":"journal-article","created":{"date-parts":[[2022,2,19]],"date-time":"2022-02-19T12:40:05Z","timestamp":1645274405000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing Music Theory"],"prefix":"10.22501","author":[{"family":"Bart de Graaf","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:06Z","timestamp":1727193366000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1530304\/1530303"}},"issued":{"date-parts":[[2022,6,30]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/rc.1530304","published":{"date-parts":[[2022,6,30]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:19Z","timestamp":1727238679461},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,5,11]]},"abstract":"Diversity and inclusion within Western art music have become topics of elevated importance in in recent discussions. To create enduring results regarding these matters, there needs to be a commitment to in-depth study of practices that will produce visible change. This is one of the goals of my research, in which I tackle issues of representation by focusing on Black women composers and their absence from the canon as overlooked and marginalized artists. It is well known that women have been denied many opportunities throughout history; as composers, many experiences crucial to professionalism were not always available to women, including music education in composition, the publication and circulation of their works, not being hired as conductors, or receiving reviews from influential critics. These opportunities and resources dwindled further if a woman was also a person of colour. Thus, in order to ensure their inclusion within the canon, these underrepresented identities demand and require unique recognition.\n\nI have examined the issue of neglected women of colour composers in classical music from an interdisciplinary standpoint, utilizing the methodologies of history and experimentation to form an \u201cintersectional feminist critical curation\u201d framework. This framework implements knowledge from intersectional feminist theory and music curation practices in order to answer following questions: \u201cWhat is the impact on new audiences of diverse backgrounds experiencing classical music through an intersectional feminist curatorial framework?\u201d, \"Can classical music be an effective device for messages of social and political change?\", and \u201cWhat is the impact on myself as a classical vocalist and a Black woman to implement an intersectional feminist curatorial framework within my musical study and performance?\u201d. The overall goal of this research was to discover an effective way forward to achieving diversity in classical music for underrepresented groups. Drawing from this study, I have created a digital performance project entitled \u201cThe Narrativity Sessions,\u201d which functioned as an experiment utilizing this knowledge of intersectional feminist theory and praxis fused with select critical curation strategies applied to my own artistic practice as a classical singer. The outcome was a novel artistic practice that can contribute to creating innovative and artistically fulfilling performances while simultaneously advancing diversity and inclusion in the classical music sphere for audiences, performers, and composers alike.<\/jats:p>","DOI":"10.22501\/koncon.1007664","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:39:01Z","timestamp":1725921541000},"source":"Crossref","is-referenced-by-count":0,"title":["Adding to the Narrative: Intersectional Feminist Critical Curatorial Practices in Classical Vocal Music Performance"],"prefix":"10.22501","author":[{"family":"Shanice Skinner","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:12Z","timestamp":1727193372000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1007664\/1007665"}},"issued":{"date-parts":[[2022,5,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1007664","published":{"date-parts":[[2022,5,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:24Z","timestamp":1727238684406},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,5,6]]},"abstract":"This article discusses a specific approach to sound from a sculptural perspective, based on an innovative process named \"co-composition\", in which physical and sonic material can be concurrently produced, rearranged and transformed in a solo environment. This approach investigates ways of working with the direct response of materials to performed actions by mapping actions of making in ways that can inform new actions through sound. I question the way sculptural sounds are caused and how sounds and their real-time transformation could influence the way I understand the process as a practitioner and researcher, and how this is experienced by the audience. How does the process change once sound is transformed to something different, new? How does this affect practising with sound as more than sound? To achieve this, I develop new ways of articulating aesthetic decisions from one medium to the other on the basis of their \"stories\" as they are manifested through traces of material manipulation.<\/jats:p>","DOI":"10.22501\/ruu.597625","type":"journal-article","created":{"date-parts":[[2020,4,16]],"date-time":"2020-04-16T11:41:14Z","timestamp":1587037274000},"source":"Crossref","is-referenced-by-count":0,"title":["Sculptural sounds: a co-compositional approach"],"prefix":"10.22501","author":[{"family":"Eleni-Ira Panourgia","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:02Z","timestamp":1727193662000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/597625\/597626"}},"issued":{"date-parts":[[2020,5,6]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/ruu.597625","published":{"date-parts":[[2020,5,6]]}},{"indexed":{"date-parts":[[2023,12,7]],"date-time":"2023-12-07T00:54:42Z","timestamp":1701910482073},"posted":{"date-parts":[[2023,12,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.2346467","type":"posted-content","created":{"date-parts":[[2023,12,6]],"date-time":"2023-12-06T13:43:38Z","timestamp":1701870218000},"source":"Crossref","is-referenced-by-count":0,"title":["Thumb exercise"],"prefix":"10.22501","author":[{"family":"Julia Valentina Johannessen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2023,12,6]],"date-time":"2023-12-06T13:43:38Z","timestamp":1701870218000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2346467\/2346468"}},"issued":{"date-parts":[[2023,12,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2346467","published":{"date-parts":[[2023,12,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,20]],"date-time":"2025-03-20T04:19:56Z","timestamp":1742444396325,"version":"3.40.1"},"posted":{"date-parts":[[2025,3,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T00:00:00Z","timestamp":1742342400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In the academic year 2023-2024, we (Brigit Lichtenegger and Han Hoogerbrugge) were asked to research generative AI for the Research Group Material Practices at Willem de Kooning Academy, Rotterdam University of Applied Sciences, the Netherlands.\n\nFor this project, we used a research-by-making method. We kept a notebook of the information we gathered during our research.\nThe notebook reads like a journal, providing an overview of how we have developed possible approaches to integrating AI in our education program.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3521703","type":"posted-content","created":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T20:51:22Z","timestamp":1742417482000},"source":"Crossref","is-referenced-by-count":0,"title":["Mission AI"],"prefix":"10.22501","author":[{"family":"Brigit Lichtenegger","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T20:51:22Z","timestamp":1742417482000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3521703\/3521704"}},"issued":{"date-parts":[[2025,3,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3521703","published":{"date-parts":[[2025,3,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:35Z","timestamp":1727238635744},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,11,29]]},"abstract":"This exposition is a web of exercises which have been part of different participatory performances, -installations and -workshops. The projects were undertaken during the years of 2014\u20132019 and are part of my artistic pedagogical research about the potential of exercises in live art. By extricating exercises from their original context and placing them in a rhizomatic map alongside other exercises, I want to examine exercises as an important tool in creating the future of live art and new realities. A tool that can be used to create new performance art works and imagining the future. The exercises in live art pedagogy has potentials in imagining and creating new realities. Each exercise can also have value as an artwork in themselves, as a performance event score.\n\nThe exercises in this exposition can be looked upon as traces of earlier works, and by cross-contextualising the exercises I look for how they are interrelated and what the materiality or technique of an exercise can be. In this cross-contextualising I look for the agency of the different exercises. I have selected the active performative agents that best characterise fo the exercises. These are the formulation, objects, performer, audience, place, and time as such agents.<\/jats:p>","DOI":"10.22501\/ruu.722219","type":"journal-article","created":{"date-parts":[[2021,11,29]],"date-time":"2021-11-29T12:44:16Z","timestamp":1638189856000},"source":"Crossref","is-referenced-by-count":0,"title":["On the Potential of Exercises in Live Art Pedagogy"],"prefix":"10.22501","author":[{"family":"Kristina Junttila","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:36Z","timestamp":1727193576000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/722219\/808598"}},"issued":{"date-parts":[[2021,11,29]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/ruu.722219","published":{"date-parts":[[2021,11,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:37Z","timestamp":1727238637386},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"The Study on Objects (2018-) is an ongoing art project that focuses on everyday life objects we are surrounded by. While considering the objects and working with videos, I contemplate the relationship between new materialism and performance art. Feminist new materialism offers a perspective to explore many performance art works that reveal how we are related to objects and how we deal with them.<\/jats:p>","DOI":"10.22501\/ruu.513141","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T11:34:40Z","timestamp":1558611280000},"source":"Crossref","is-referenced-by-count":0,"title":["Objects that Matter - Performance Art and Objects"],"prefix":"10.22501","author":[{"family":"Pilvi Porkola","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:29Z","timestamp":1727193749000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/513141\/513142"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.513141","published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:38Z","timestamp":1727238638797},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,15]]},"abstract":"The term prolonged touch comes from Carl Czerny and is synonymous with finger pedaling, legatissimo, overlegato, and, in some cases, legato. This was a common technique used by the early pianists who took it out of the practices of harpsichord, clavichord, and organ playing. Its use in piano music declined during the Romantic period and beyond, due to the development of the piano and its sound, the advancement of damper pedal technique, and a more \"literal\u201d reading of notation. My research aims to understand how and where in music the prolonged touch was used in Classical and early Romantic piano music. Passages describing this technique were found in treatises and works by C. P. E. Bach, T\u00fcrk, Milchmeyer, Adam, Hummel, Moscheles, Czerny, and more. From these passages, I examined the ways the aforementioned composers notated or indicated the use of this technique in their compositions. Next, based on what the treatises tell, I organized categories of musical applications of the prolonged touch. And then I gave examples from piano literature to further illustrate their use within each category. Finally, I demonstrated my artistic use of the prolonged touch in Mozart\u2019s Sonata in F major, K. 332.<\/jats:p>","DOI":"10.22501\/koncon.539727","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:41:01Z","timestamp":1725921661000},"source":"Crossref","is-referenced-by-count":0,"title":["The Prolonged Touch: Finger Pedaling and Legatissimo in Classical and Early Romantic Piano Music"],"prefix":"10.22501","author":[{"family":"Blake Proehl","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:54Z","timestamp":1727193414000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/539727\/539728"}},"issued":{"date-parts":[[2020,6,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.539727","published":{"date-parts":[[2020,6,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:39Z","timestamp":1727238639729},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,20]]},"abstract":"I have had the enormous privilege to meet the composer Karlheinz Stockhausen in 1982 at the Royal Conservatoire in The Hague. In the context of a month-long festival around his music I had, at the time being a first-year piano student, the opportunity to play his first four Klavierst\u00fccke for him, and this, apart from being a very inspiring experience for me, resulted in a close cooperation that lasted for 20 years. During these years I worked with him on all his piano works, including Mantra, and performed them many times on different occasions, almost always in the presence of Stockhausen himself. In 1997\u20131998 I recorded all the solo piano pieces on the composer\u2019s label.\n\nDuring those years I was asked quite a few times, either by someone from the audience or by students that I taught during masterclasses, if I expected these pieces to become part of the \u201ccanon of piano music\u201d in fifty years from then.\n\nAt that time, being so involved in the piano pieces and probably not having the necessary distance to reflect on this question, I always answered the question in the affirmative.\n\nSo, it came as quite a shock to me when I started to notice a change by myself in relation to the piano pieces, at least to some of them. Normally, the more and longer I work on a piece the more I get attached to it, but now I started to realise that I got more and more detached from some of the pieces, up until the point that I didn\u2019t want to play them anymore. However, other piano pieces remained very dear to me, and this up until today.\n\nIn short, it seemed that within 20 years I had unconsciously made my own \u2018canon\u2019 with regard to Stockhausen\u2019s piano pieces. \n\nWhat I find intriguing about this experience is to find out what the reason is for this enormous difference in appreciation for the works of one composer. Why am I sure that some piano works of Stockhausen will still be played many years from now while, in my opinion, other works will fade? Can I put a finger on differences between the pieces which can justify this? And if I can find something to justify this for Stockhausen\u2019s Klavierst\u00fccke, could this also be valid for works by other composers?<\/jats:p>","DOI":"10.22501\/koncon.300903","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:44:20Z","timestamp":1725921860000},"source":"Crossref","is-referenced-by-count":0,"title":["The Development of the Performer's Role in Karlheinz Stockhausen's Piano Works"],"prefix":"10.22501","author":[{"family":"Ellen Corver","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:33Z","timestamp":1727193453000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/300903\/300904"}},"issued":{"date-parts":[[2018,9,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.300903","published":{"date-parts":[[2018,9,20]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:44Z","timestamp":1727238644667},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: Post-digital Angst \u2013 An Arts-Based Research on the Manifestations of Angst in the Digital Milieu, Supervisor: Gabriele Rothemann\n\nEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>","DOI":"10.22501\/envelo.2738166","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T11:26:04Z","timestamp":1715599564000},"source":"Crossref","is-referenced-by-count":0,"title":["POST-DIGITAL ANGST - On Post-digital \u201cAlterity\u201d and \u201cHostility\u201d"],"prefix":"10.22501","author":[{"family":"Mong Sum Leung","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:09Z","timestamp":1727193909000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2738166\/2738167"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2738166","published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:46Z","timestamp":1727238646399},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2022,3,4]]},"abstract":"Collaborative creative processes within the realm of Western Art Music are usually hidden and\/or not actually collaborative at all. Vera John-Steiner (2000) defines \u2018integrative collaboration\u2019 as a working situation in which roles merge and a shared ideology and vision emerge through dialogue.\n\nThis artistic research project investigates to what extent intimacy is a condition for collaboration and what it means within music-making. Intimacy is newly defined as the play of affective, physical and emotional borders between people where our own sense of ourselves can be shaped.\n\nBy considering collaborative working as a compositional tool, intimacy becomes something that can be encouraged, indeed collaborative skills can be practiced. Through a variety of music-making projects in which I am project lead, composer and\/or performer or composer-performer, I devise strategies for handing over power to my colleagues and harnessing their creativity such that they become co-creators rather than just interpreters. I investigate different approaches to intimacy within the domains of music and theatre. I also reflect on my own development as a collaborator and attempt to create a set of principles for successful collaborative working.\n\nA set of advantages to adopting a devised process have emerged and a new focus on the long-term potential of a group or partnership changes the context for collaboration. Understanding that a creative partnership is a tree and artistic products are the fruits of that tree has caused me to understand collaboration as multimodal, beyond the score, and made clear the options for the choices of values within collaboration.<\/jats:p>","DOI":"10.22501\/nmh-ar.1377266","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T12:14:32Z","timestamp":1684757672000},"source":"Crossref","is-referenced-by-count":0,"title":["Composing Together and Not Together - Intimacy as a Condition for Collaboration"],"prefix":"10.22501","author":[{"family":"Josh Spear","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:25Z","timestamp":1727194105000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1377266\/1377267"}},"issued":{"date-parts":[[2022,3,4]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1377266","published":{"date-parts":[[2022,3,4]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:06Z","timestamp":1727238726046},"posted":{"date-parts":[[2016,5,10]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Ei utforskning av Olivier Messiaen sitt klangunivers, med utgangspunkt i preludiet \"\u201dCloches d\u00b4angoisse et larmes d\u00b4adieu\u201d.<\/jats:p>","DOI":"10.22501\/rc.272959","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:19Z","timestamp":1498067599000},"source":"Crossref","is-referenced-by-count":0,"title":["Olivier Messiaen sitt klangunivers"],"prefix":"10.22501","author":[{"family":"Martha Berit Belt","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:49Z","timestamp":1727192989000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/272959\/273063"}},"issued":{"date-parts":[[2016,5,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.272959","published":{"date-parts":[[2016,5,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:07Z","timestamp":1727238727979},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,9,27]]},"abstract":"The exposition presents two installations\u2014Mit\u00e4 uutta kivist\u00e4?\/Anything new about stones? (2017) and LAB-O(U)RATORY (2019)\u2014and enfolds them in a series of repetitive gestures that stage their methodical entanglement. Both of the installations explore and articulate the research potential of expanded writing. At stake is the ecology of attention in a setting that thematises the co-existence of different modes of articulation, interlinked spatial and temporal arrangements as well as their associative mechanisms. What happens when a spatial constellation is presented on a medially formatted time line? How to focus one\u2019s attention in an associatively saturated literary space? Rather than attaching itself to an already existing theoretical framework or meta-discussions on artistic research, the exposition aims at explicating a singular artistic framework and its constellated structure.<\/jats:p>","DOI":"10.22501\/jar.370343","type":"journal-article","created":{"date-parts":[[2021,9,29]],"date-time":"2021-09-29T01:06:24Z","timestamp":1632877584000},"source":"Crossref","is-referenced-by-count":0,"title":["Encore"],"prefix":"10.22501","author":[{"family":"Mika Elo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:04Z","timestamp":1727193124000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/370343\/370344"}},"issued":{"date-parts":[[2021,9,27]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jar.370343","published":{"date-parts":[[2021,9,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:06Z","timestamp":1727238726170},"posted":{"date-parts":[[2014,10,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Arts based research enables me to bring together my identities as an artist, a researcher, an educator, life story teller, and, immigrant from India to the United States. In this paper, I present my experiences with creating an artistic representation of immigrant narratives focusing specifically on a controversial visa to the United States called the H1B. The artwork was created in response to a call from the Smithsonian Asian and Pacific American Center\u2019s first community exhibition on Indian American heritage. I used a mixed methods approach bringing together narrative methods with arts based approaches, namely, researching, storytelling and artmaking. Integrating the methods was a challenge as I struggled to find alignment between artistic representation and narrative storytelling. A potential bridge was the active evocation of imagery in the narratives that then helped build a bridge to the elements of the final artwork. The artwork was shared in a group exhibition in a gallery and will be part of a future online site in the hope of sparking broader social awareness and transformative thinking. The responses to the artwork and narratives at the exhibition added a new level of dialogue and exchange that was beyond the scope of each methodological approach alone. The experience posed several questions on the intersection of arts-based research with other paradigms. Challenges identified included the bridging data and analytic strategies in different methods. Identified opportunities include having an expanded audience, transformative means of access, generating awareness about previously unknown issues and extended engagement.<\/jats:p>","DOI":"10.22501\/rc.98247","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:55Z","timestamp":1498067635000},"source":"Crossref","is-referenced-by-count":0,"title":["Being an A-R-T-I-S-T: Challenges and Opportunities of Connecting Art, Research, Transformation, Imagery &amp; StoryTelling"],"prefix":"10.22501","author":[{"family":"girija kaimal","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:11Z","timestamp":1727193011000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/98247\/98248"}},"issued":{"date-parts":[[2014,10,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.98247","published":{"date-parts":[[2014,10,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:10Z","timestamp":1727238730848},"posted":{"date-parts":[[2019,6,19]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Sonoqualia is a project aimed at people with visual impairment, whose main objective is the creation of sound artistic experiences linked to pictorial works housed in museums of the city of Madrid. The name (Sono-qualia) refers to the subjective qualities of the sounds we feel and perceive each one of us, so its intention is far from objective criteria translators of visual material in sound material. Pictorial works are the frames of reference from which the spaces and sound experiences are created. The audio-descriptions offered by museums, understood as descriptive narratives of the elements put in relation in the pictures, are the starting point of the project, conceived as a 5-week workshop in which the participants work in groups, assisted by technicians who facilitate them the access to sound-composition software. Sonoqualia focuses on the construction, enrichment and communication of the mental images of the participants, generated from these descriptive narratives, understood as internal representations shaped from our multimodal experiences, in which all the senses intervene. Various elements are used for this purpose, such as symbolic values and emotional meanings of the sounds daily used in our interpersonal and environmental relationships; the sound imagination, which has the capacity of development, sophistication and complexity; previous sound experiences or \"sonorous culture\", variable in each participant, but enriched when shared and put together; sound material chosen simply by \"as it sounds\", i.e. by aesthetic criteria... The result is the creation of sound pieces with a duration around 2 minutes. This project has been the beneficiary of an aid for the artistic creation of the city Council of Madrid 2017 and so far, two editions of it have been made.<\/jats:p>","DOI":"10.22501\/rc.635016","type":"posted-content","created":{"date-parts":[[2019,6,19]],"date-time":"2019-06-19T12:24:27Z","timestamp":1560947067000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonoqualia 2.0"],"prefix":"10.22501","author":[{"family":"Concha Garc\u00eda","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:06Z","timestamp":1727192946000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/635016\/635019"}},"issued":{"date-parts":[[2019,6,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.635016","published":{"date-parts":[[2019,6,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:10Z","timestamp":1727238730820},"posted":{"date-parts":[[2014,10,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Echo Theory explores the idea that a direct objective experience of any object or an event will bring recall of a dormant way of sensing into our powers of observation, and this idea looks to create raw indeterminate shapes and imprecise colour through art to rekindle sensations that our minds work to remove from our day-to-day lives. I believe that art made to avoid learned ideas and controlled content \u2013 working to remove recognisable images, stories, social comment, composition, harmony, structural organisation and technique \u2013 gives recall of this raw encounter with material that we look to remove from our perception, and my assertion is that using raw material as art brings back to mind echo's of animal impulses that we have evolved to suppress in all we see and do. My work implies any art objects that provoke recall of these animal impulses will disturb us rather than please us, and we will find ourselves looking to reduce the uncertainty experienced in the presence of raw material by searching for imaginative imagery - faces or figures in runs and dribbles of paint, patterns in disorder, or melody in sounds, etc. because this as a behavioural response that has developed through art to keep an older experience out of our minds. I am looking to the idea that any artist unaware of this behaviour will create work that removes rawness from their work, whilst those who are aware will look to promote rawness to bring recall of the remains of a dormant way of sensing.<\/jats:p>","DOI":"10.22501\/rc.97431","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:54:27Z","timestamp":1498067667000},"source":"Crossref","is-referenced-by-count":0,"title":["Echo Theory"],"prefix":"10.22501","author":[{"family":"Christopher Hollins","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:17Z","timestamp":1727193017000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/97431\/97432"}},"issued":{"date-parts":[[2014,10,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.97431","published":{"date-parts":[[2014,10,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:22Z","timestamp":1727238742813},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"This presentation examines instances of elementary algorithmic thinking and musical examples that bear the same principles. A particular focus is given to the function of algorithmic thinking as a performative skill in action. The presentation takes as its background that the application of the procedural logic of algorithm has a long history in music, and that examples can be found in many types of music-making as activities. While much of this application is already discussed in the discipline of musical composition, I observe that the significant presence of algorithmic thinking in performance is still to be articulated. In the three sections titled \u2018affordance\u2019, \u2018combinatoriality\u2019, and \u2018sequence\u2019, I examine each concept in algorithmic operations, and how the same principle can be observed in musical practices. These three sections provide reflection on the nature of the processes involved in music-making. They also simultaneously argue that contemporary musicians possess the capacity to process necessary information and tasks algorithmically, consciously or not.<\/jats:p>","DOI":"10.22501\/ruu.453013","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T11:36:37Z","timestamp":1558611397000},"source":"Crossref","is-referenced-by-count":0,"title":["Algorithmic Thinking and Musical Performance"],"prefix":"10.22501","author":[{"family":"Mieko Kanno","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:20Z","timestamp":1727193740000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/453013\/453014"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.453013","published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:23Z","timestamp":1727238743928},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2013,12,8]]},"abstract":"In this exposition I present a project called Wind Rail as an example of the beginning of a more extensive artistic research project. The experience of this small experiment in performing landscape led to further explorations almost accidentally.\nI am recounting my experiences on Mount Randa and presenting some materials of the first experiments I conducted there. By returning to an old work I ask, whether it contains some abandoned or alternative paths worth returning to. Besides an introduction, which forms the main part of the discussion, the exposition consists of appendixes: videos, sketches for video installations, voice-over texts, documentation of the performance and the paper \u201cLandscape as a View\u201d as well as a conclusion.<\/jats:p>","DOI":"10.22501\/ruu.42484","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:47Z","timestamp":1503649487000},"source":"Crossref","is-referenced-by-count":0,"title":["WIND RAIL - Sort of a Beginning \/ TUULIKAIDE - Er\u00e4\u00e4nlainen alku"],"prefix":"10.22501","author":[{"family":"Annette Arlander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:50Z","timestamp":1727193890000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/42484\/42634"}},"issued":{"date-parts":[[2013,12,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ruu.42484","published":{"date-parts":[[2013,12,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:27Z","timestamp":1727238747132},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2022,11,17]]},"abstract":"Circular Bowing, Cyclical Work explores the collaboration between composer Henrik Strindberg and myself, violinist Karin Hellqvist, from my viewpoint as performer and co-creator. On my initiative, as part of my PhD in artistic research at the Norwegian Academy of Music in Oslo, a cyclical collaborative practice is being developed. Our process differs from the conventional separation of roles that I have so far experienced as a performer of contemporary Western classical music. The exposition highlights how my understanding of the emerging concept of 'the artistic palette' develops through the shared work and dialogue around Cirkul\u00e4ra Str\u00e5k for violin and electronics, when expanding my practice and establishing a new work mode. Through examples from the artistic process, the exposition aims at further unfolding how we as collaborators develop ways of challenging each other. A keyword for my defiance of the traditional and formal task division, is the search for connection \u2013 connection to my collaborator, the work, and the embodied knowledge of my artistic palette. The exposition comprises written reflections, transcribed dialogue and sketches as well as video and audio documentation. Documentary video conversations are held in Swedish with English subtitles.<\/jats:p>","DOI":"10.22501\/vis.1457282","type":"journal-article","created":{"date-parts":[[2022,11,17]],"date-time":"2022-11-17T21:50:31Z","timestamp":1668721831000},"source":"Crossref","is-referenced-by-count":0,"title":["Circular Bowing, Cyclical Work"],"prefix":"10.22501","author":[{"family":"Karin Emilia Hellqvist","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:47Z","timestamp":1727194127000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1457282\/1457283"}},"issued":{"date-parts":[[2022,11,17]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/vis.1457282","published":{"date-parts":[[2022,11,17]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:32Z","timestamp":1727238692047},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2019,1,24]]},"abstract":"This exposition considers how investigative poetic practices could broaden notions of \u2018forensis\u2019 in terms of contemporary art. By developing my concept of \u2018poetic forensics\u2019 with attunement as a method that is \u201cpalpable and sensory, yet imaginary and uncontained\u201d (Stewart 2011) it admits the nonhuman\u2014trees, rocks, streams, animals\u2014suggesting new relations beyond the human as possible witnesses (Williams 2018). This presents an invitation to think differently about articulations of public truth. The question \u2018Who else is witness?' emerges while exploring material intrinsically elusive to testimony on what and who has been disappeared by oppressive geopolitics. Human-rights issues are implicit given the project\u2019s focus on historical erasure and state violence at \u201cthe threshold of detectability\u201d (Weizman 2017). It also attends to my family\u2019s experiences as we faced the \u201cpolitical disappearance\u201d of my father Iv\u00e1n Daza, in 1960s Cold War-era Venezuela. The project grapples with validity through methods and lively approaches that decolonize both knowledge (Tuhiwai Smith 1999) and nature (Demos 2016) presenting posthuman challenges to a privileged human onto-epistemological position (Viveiros de Castro 2015).<\/jats:p>","DOI":"10.22501\/vis.498714","type":"journal-article","created":{"date-parts":[[2019,12,14]],"date-time":"2019-12-14T17:08:18Z","timestamp":1576343298000},"source":"Crossref","is-referenced-by-count":0,"title":["(Not so) Casual Conversations: Experiments in Attunement as Method in Investigative Art Practice"],"prefix":"10.22501","author":[{"family":"Livia Daza-Paris","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:15Z","timestamp":1727194155000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/498714\/498715"}},"issued":{"date-parts":[[2019,1,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/vis.498714","published":{"date-parts":[[2019,1,24]]}},{"indexed":{"date-parts":[[2024,11,7]],"date-time":"2024-11-07T05:26:09Z","timestamp":1730957169813,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"33","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,11,6]]},"abstract":"Our bodies are porous entities that interconnect with and depend on the broader collectivity of human and nonhuman life that exists within a shared environment. Using the figuration of synthetic bodies, this exposition aims to examine the relationships in which we are enmeshed as our bodies absorb and excrete chemicals. With a focus on involuntary exposure to industrially manufactured chemicals (as opposed to exposure to naturally occurring chemicals or voluntary experimentation with chemicals of all types), this exposition invites readers to learn about the chemicals to which we are exposed and by which we are affected. With the ubiquity of chemicals in the environment, who are we becoming? How do chemicals affect us and how do we interact with them? How can we live well with chemicals in spite of their potential to harm? Adopting a decolonial feminist, posthumanist, and new materialist approach and embracing queer ecological sensibilities, this exposition develops protocols for embodied and materially embedded research practices that trace the effects of exposure to chemicals in everyday life. In so doing, it aims to demonstrate how we might build resilience through encounters with toxicity, contamination, and impurity.\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n<a class=\"download-accessible\" href=\"download-media?work=3155507&amp;file=3155516\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.1609630","type":"journal-article","created":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T09:07:58Z","timestamp":1730884078000},"source":"Crossref","is-referenced-by-count":0,"title":["synthetic bodies: protocols for intra-acting"],"prefix":"10.22501","author":[{"family":"Lenka Vesela","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T20:26:12Z","timestamp":1730924772000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1609630\/2671314"}},"issued":{"date-parts":[[2024,11,6]]},"references-count":0,"journal-issue":{"issue":"33"},"URL":"https:\/\/doi.org\/10.22501\/jar.1609630","published":{"date-parts":[[2024,11,6]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:06Z","timestamp":1727238666025},"posted":{"date-parts":[[2022,8,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Excerpt from the lecture at the \"Portitsa\" Festival about the musical piece \u201cAdagio e Rondo\u201d for oboe and piano by the Bavarian composer Josef Vitzthum (1815-1884). It is considered the oldest oboe work related to the newly formed independent Greek state. It came to the surface after more than a century, from the moment of its creation, during the doctoral research on oboe works by Greek composers.\n\nChristos Tsogias-Razakov\nOboist - Ph.D. Candidate\n\nTsogias-Razakov, Christos. \u201c\u2018\u0391dagio e Rondo\u2019 oboe and piano by Josef Vitzthum (1815-1884)\u201d First Festival of Portitsa. Lecture, August 5, 2022.<\/jats:p>","DOI":"10.22501\/rc.1722818","type":"posted-content","created":{"date-parts":[[2022,8,28]],"date-time":"2022-08-28T14:13:18Z","timestamp":1661695998000},"source":"Crossref","is-referenced-by-count":0,"title":["\"\u0391dagio e Rondo\u201d for oboe and piano accompaniment, by Josef Vitzthum (1815-1884). The oldest oboe piece that is associated with the newly formed independent Greek State."],"prefix":"10.22501","author":[{"family":"Christos Tsogias-Razakov","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:14Z","timestamp":1727192654000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1722818\/1722817"}},"issued":{"date-parts":[[2022,8,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1722818","published":{"date-parts":[[2022,8,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667819},"posted":{"date-parts":[[2021,2,27]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Convivial Labour Force Project fits somewhere between the nomadic fablab and the anti-business. Flirting with the limits of a free maker space and applied conviviality, the project is inspired by a desire of reappropriating social economy and questioning the meaning of transaction within mutual aid. \n \nThe goal is simple: to offer one\u2019s free collaboration in a diversity of projects - through cabinetmaking to sewing including cooking and horticulture \u2013 all while aligning the co-performed tasks with the principles of economic degrowth, conviviality and horizontality. \n________________________________________________________\n\nProjet main d\u2019\u0153uvre conviviale s\u2019inscrit quelque part entre le fablab nomade et l\u2019anti-entreprise, aux limites du maker space gratuit et de la convivialit\u00e9 appliqu\u00e9e, inspir\u00e9 par un d\u00e9sir de r\u00e9appropriation de l\u2019\u00e9conomie sociale et une remise en question de la transaction dans l\u2019entraide. \n\nL\u2019objectif est simple : offrir gratuitement sa collaboration dans de multiples projets \u2013 de l\u2019\u00e9b\u00e9nisterie \u00e0 la couture en passant par la cuisine et l\u2019horticulture \u2013 tout en alignant les t\u00e2ches ainsi co-effectu\u00e9es avec les principes de la d\u00e9croissance \u00e9conomique, de la convivialit\u00e9 et de l\u2019horizontalit\u00e9.<\/jats:p>","DOI":"10.22501\/rc.648440","type":"posted-content","created":{"date-parts":[[2021,2,27]],"date-time":"2021-02-27T01:47:23Z","timestamp":1614390443000},"source":"Crossref","is-referenced-by-count":0,"title":["The Convivial Labour Force Project \/ Projet main d'oeuvre conviviale"],"prefix":"10.22501","author":[{"family":"Julien Gagnon Rouillard","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:03Z","timestamp":1727192823000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/648440\/648441"}},"issued":{"date-parts":[[2021,2,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.648440","published":{"date-parts":[[2021,2,27]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667691},"posted":{"date-parts":[[2021,3,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This 2016 UK\/Canadian documentary is the first practice as research project to fully explore the social and historical significance of the controversial \u2018tax shelter\u2019 films that were released in Canada between 1974 and 1984. It considers both the tax shelter phenomenon (which allowed investors to deduct 100% of taxable investment in film production), and the dramatic expansion in populist Canadian cinema it prompted (including \u2018body horror\u2019 films, home invasion thrillers, ribald teen movies and regional sex comedies).<\/jats:p>","DOI":"10.22501\/rc.1169201","type":"posted-content","created":{"date-parts":[[2021,3,22]],"date-time":"2021-03-22T13:55:56Z","timestamp":1616421356000},"source":"Crossref","is-referenced-by-count":0,"title":["TAX SHELTER TERRORS: THE REAL STORY OF CANADIAN CULT CINEMA"],"prefix":"10.22501","author":[{"family":"Xavier Mendik","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:54Z","timestamp":1727192814000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1169201\/1169202"}},"issued":{"date-parts":[[2021,3,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1169201","published":{"date-parts":[[2021,3,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:09Z","timestamp":1727238669246},"posted":{"date-parts":[[2020,12,15]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In her book \u2018Time Binds: Queer Temporalities, Queer Histories\u2019 Elizabeth Freeman (2010) recognises the erotic body as a method to speak about non-normative experience of chronopolitics for queer identities. Ceglarz\u2019s research borrows Freeman\u2019s method (erotohistoriography) and applies it in practice-led fine art research in order to materialise pleasurable nooks of time and to create experiences of disorientating interruptions. His research seeks to disjoint the dominant narrative of pain and trauma in discourses on LGBTQI+ identities. \n\nCeglarz does this by focusing on materialising the experience of melancholy that emerges from the loss of spaces that served and cared for gay erotic practices. His\n installation titled \u2018Love\u2019 (2019) uses a combination of works that reflect on the migration of these spaces from the partially public sphere into pre-dominantly private. In these works he uses phallic imaginary embedding it with the domestic materialities and practices; from plates, egg cups, table cloths and hand towels that are painted, embroidered ironed and displayed. Accompanying the installation is a performance piece comprised of: reading out aloud the \u2018Love Manifesto\u2019 (Ceglarz, 2019); a love letter addressed to \u2018My Dear Old Faggots\u2019: and phallic shaped glitter pieces thrown sporadically into the air from a coffee cup with the word \u2018Cocksucker\u2019 painted on it. To enhance this experience, Ceglarz also uses the poetry of Jean Genet in his pieces, attenuating the non-chrononormative melancholy that allows for the \u201ccollapse of past and future into an immediate intensity\u201d (Johnny Golding, 2013). \n\nThe installation and performance piece formed the basis of a solo exhibition in the international artist-run space, Lab155, Bologna (2019), and were part of the international conference \u2018Un-tie the Knot: Redefining normativity in Love\u2019 (2019) part of ORGAN VITA arts festival in Croatia held in the Museum of Nicola Tesla, Zagreb.<\/jats:p>","DOI":"10.22501\/rc.1080342","type":"posted-content","created":{"date-parts":[[2020,12,15]],"date-time":"2020-12-15T10:37:02Z","timestamp":1608028622000},"source":"Crossref","is-referenced-by-count":0,"title":["Love Manifesto; embodying disorientation through erotohistoriography."],"prefix":"10.22501","author":[{"family":"Jakub Jan Ceglarz","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:44Z","timestamp":1727192864000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1080342\/1080343"}},"issued":{"date-parts":[[2020,12,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1080342","published":{"date-parts":[[2020,12,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670944},"posted":{"date-parts":[[2017,6,27]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The startingpoint of \"Still Moving\" has been: to map and perform an artistic process in which the aim is to create a scenographic poem. If poetry is about 'feeling in language' (Eliot), then scenographic poetry is about feeling in the materiality of a spatial-temporal composition. We have started to work with an actor, live video technology and 'Four Quartets' by T.S. Eliot. Throughout the process the main ingredients have shifted towards: the breath of the actor, a lot of soil and sensor-technology. The research question has been evolving from an interest in the concept of 'presence', towards an interest in rhythms of the body in relation to rhythms of the earth, towards an interest in the materiality of the ingredients.\n\nThis page is meant to give insight into our process of creation.<\/jats:p>","DOI":"10.22501\/rc.330914","type":"posted-content","created":{"date-parts":[[2017,6,27]],"date-time":"2017-06-27T20:35:25Z","timestamp":1498595725000},"source":"Crossref","is-referenced-by-count":0,"title":["Still Moving"],"prefix":"10.22501","author":[{"family":"Juriaan Achthoven","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Rhian Morris","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:36Z","timestamp":1727192976000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/330914\/331723"}},"issued":{"date-parts":[[2017,6,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.330914","published":{"date-parts":[[2017,6,27]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:26Z","timestamp":1727238686753},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/repos","type":"journal","created":{"date-parts":[[2023,3,7]],"date-time":"2023-03-07T19:32:13Z","timestamp":1678217533000},"source":"Crossref","is-referenced-by-count":0,"title":["Reposition"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:06:41Z","timestamp":1727194001000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1851127\/1851128"}},"short-title":["reposition"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/repos"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:31Z","timestamp":1727238691465},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,15]]},"abstract":"In response to digital technology, new methods,\u00a0thinking and aesthetics have emerged that challenge the way we design. In particular, the extraction of movement introduced by motion-capture technology propose a design process wherein the motion rather than the form is used as a material in a design process. In such a process the motion is extracted form a defined set of points that creates a digital representation. In this exposition, the strategies utilized when capturing a motion is translated into the process of garment making with the purpose to challenge bodily aesthetics through dress.\u00a0\n\u2028Practically, this exposition builds on two independent studies with the shared aim to define parameters for transformations of the moving body\u2019s expression applied to a garment making process. Yet, the transformation is approached from two perspectives; the first study is non-material and borrows theory and references from the field of dance and motion capturing technology. It maps the body as a point-based system based on the body as a moving form and pin-points body functions that affect these points. This part serves as a foundation for the second study that adds material aspects, in particular, it maps material parameters that relate to how the material is arranged in relation to these points.\u00a0\n\u00a0\nIn conclusion, strategies of extraction of movement as attachments and the scale of fragmentation of materials are considered the main contribution to the garment making process. As it proposes a new usage of movement, the work has implications for fashion design, costume design but also other body movement-based mediums as it is about the expression of body movement and not just the body as a form.<\/jats:p>","DOI":"10.22501\/vis.710802","type":"journal-article","created":{"date-parts":[[2020,10,14]],"date-time":"2020-10-14T11:04:24Z","timestamp":1602673464000},"source":"Crossref","is-referenced-by-count":0,"title":["BODY FRAGMENTED - temporal expressions"],"prefix":"10.22501","author":[{"family":"Linnea B\u00e5gander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:55Z","timestamp":1727194135000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/710802\/710803"}},"issued":{"date-parts":[[2020,10,15]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/vis.710802","published":{"date-parts":[[2020,10,15]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:33Z","timestamp":1727194233718},"posted":{"date-parts":[[2023,6,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201cMy sound body is the ghostly embrace that physically envelops the listener, with acoustic energy. Feel my presence, as I hide in plain sight.\u201d\n\nThis exposition explores the role of surround sound in filmmaking, its strength and pitfalls in space-making, as well as its viability as an image-making device. \n\nThe author challenges conservative usage of surround sound, advocating for a playful and resistant approach; with the aim to create active and immersive spatial soundscapes where each audience member can experience their own \"sweet spot.\" They reflect on the limitations of traditional cinema sound and express their desire to empower listeners with a dense and rich auditory experience.\n\nBy focusing on capturing authentic acoustic spaces, challenging traditional recording practices, and exploring a resistant approach to surround sound; the author highlights the unique relationship between sound, image, and space; and how their interplay can evoke various impressions. \n\nThe text delves into the author's artistic approach to working with surround-scapes (surround-soundscapes), highlighting different strategies and providing examples from films and games. Three surround-aesthetics are defined and named, which the author refers to as \"rooms.\" The transformative power of sound is underscored, with a focus on embracing vulnerability and fluidity as sources of strength.\n\nThrough the context of foley-practice and surround-scaping; this exposition questions the role and reach of the author's body - a sound body.<\/jats:p>","DOI":"10.22501\/rc.1874412","type":"posted-content","created":{"date-parts":[[2023,6,20]],"date-time":"2023-06-20T15:24:31Z","timestamp":1687274671000},"source":"Crossref","is-referenced-by-count":0,"title":["SOUND\/BODY"],"prefix":"10.22501","author":[{"family":"Petar Mrdjen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:44Z","timestamp":1727192564000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1874412\/2163019"}},"issued":{"date-parts":[[2023,6,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1874412","published":{"date-parts":[[2023,6,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:03Z","timestamp":1727194203967},"posted":{"date-parts":[[2024,6,14]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The video is part of artistic research that explores a dialogue between human, non-human, and forces of the land in Utsjoki, Finland. In this artistic research, walking is used as a method to connect with the environment. During the walks, small amounts of soil \u2013 sand, stones, and clay \u2013 is gathered and processed further in a studio. Some soil is transformed to slips and used when painting hand-built vases made from the gathered clay. The fired vases are placed temporarily in local rivers. The result is a series of three vase experiments done in a dialogue between human, soil, water, and the forces of the land.\n \nThe video presents the third vase experiment, where the vase is built from the local clay. The motifs of the painting are the nationally endangered animals: arctic fox, fell owl and glacial salmon. In the River Teno catchment, small juvenile salmon often spend some of their first years of life in tiny tributaries, which they enter from their birth place, the spawning areas in the main stem of the river. One of these nursery streams being Geassemahjohka. The vase is positioned in Geassemahjohka, which is running to the main stem of the River Teno some 70 km upstream from the estuary. Via the experiment we speculate: can act of crafting vase be conceived as act of caring, the vase being thus a symbolic shelter for the salmon?<\/jats:p>","DOI":"10.22501\/rc.2872725","type":"posted-content","created":{"date-parts":[[2024,6,12]],"date-time":"2024-06-12T19:18:31Z","timestamp":1718219911000},"source":"Crossref","is-referenced-by-count":0,"title":["Spring at Geassemahjohka"],"prefix":"10.22501","author":[{"family":"Maarit M\u00e4kel\u00e4","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Priska Falin","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:08Z","timestamp":1727192468000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2872725\/2877440"}},"issued":{"date-parts":[[2024,6,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2872725","published":{"date-parts":[[2024,6,14]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:40:30Z","timestamp":1741333230998,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Arbeidet \"Om leire og tegl p\u00e5 \u00d8kern\" bestod av fire workshopper som gikk ut p\u00e5 \u00e5 lage tegl fra A til \u00c5.<\/jats:p>\n keywords: sendstad, bl\u00e5leire, murstein, tegl, sendstad teglverk, kunstnerisk forskning, 3D scanning, 3D printing, clay, brick, blueclay, sendstad brickfactory, artistic resaerch, brick industry, teglindustri, teglhistorie, brick history<\/jats:p>","DOI":"10.22501\/rc.2998098","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:06:02Z","timestamp":1741331162000},"source":"Crossref","is-referenced-by-count":0,"title":["Om leire og tegl p\u00e5 \u00d8kern"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:06:02Z","timestamp":1741331162000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2998098\/2997961"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2998098","published":{"date-parts":[[2025,3,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:40:33Z","timestamp":1741333233054,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Utdrag fra samtale med Kristian Balke og Stine Marie Olaussen fra SKANSKA p\u00e5 befaring av \u00d8stre Aker vei 25.<\/jats:p>\n keywords: sendstad, bl\u00e5leire, murstein, tegl, sendstad teglverk, kunstnerisk forskning, 3D scanning, 3D printing, clay, brick, blueclay, sendstad brickfactory, artistic resaerch, brick industry, teglindustri, teglhistorie, brick history<\/jats:p>","DOI":"10.22501\/rc.3005222","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:05:23Z","timestamp":1741331123000},"source":"Crossref","is-referenced-by-count":0,"title":["Samtale med Kristian Balke og Stine Marie Olaussen fra SKANSKA"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:05:24Z","timestamp":1741331124000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3005222\/3005102"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3005222","published":{"date-parts":[[2025,3,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,28]],"date-time":"2024-12-28T13:40:10Z","timestamp":1735393210787,"version":"3.32.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"34","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,12,27]]},"abstract":"How can we practice, think, and write contemporary circus beyond the human? What would it mean to create new modes of performance that would (re)valorize the animal in the ring? \nThis exposition presents an exploration of the inventive, creative, and active dimensions of non-human animals in the context of circus. In 2022, we \u2014 Natan Hansi Alberca (multidisciplinary visual artist), Franziska Trapp (dramaturge and researcher), and Sabrina Sow (equestrian artist) \u2014 came together to create a vivid dialogue between practice and reflection, artistic and academic research, informed and naive approaches. \nWe now exhibit our exchange through video installations, academic writings, and poems, that expand on, express agreement with, or contradict each other. Our intention is to make perceptible how artistic and reflective processes are fundamentally intertwined.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n<a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&amp;file=3307183\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.1702122","type":"journal-article","created":{"date-parts":[[2024,12,27]],"date-time":"2024-12-27T16:43:31Z","timestamp":1735317811000},"source":"Crossref","is-referenced-by-count":0,"title":["The Non-Human Animal Artist: Toward the Presentation of an Artistic Species-Companionship in Circus."],"prefix":"10.22501","author":[{"family":"Franziska Trapp","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Sabrina Sow","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Natan Alberca","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,12,28]],"date-time":"2024-12-28T13:04:57Z","timestamp":1735391097000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1702122\/3133638"}},"issued":{"date-parts":[[2024,12,27]]},"references-count":0,"journal-issue":{"issue":"34"},"URL":"https:\/\/doi.org\/10.22501\/jar.1702122","published":{"date-parts":[[2024,12,27]]}},{"indexed":{"date-parts":[[2022,4,3]],"date-time":"2022-04-03T10:33:10Z","timestamp":1648981990065},"posted":{"date-parts":[[2020,9,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.718590","type":"posted-content","created":{"date-parts":[[2020,9,28]],"date-time":"2020-09-28T01:18:58Z","timestamp":1601255938000},"source":"Crossref","is-referenced-by-count":0,"title":["A Comparative Study on Karlheinz Stockhausen\u2019s Klavierst\u00fcck X"],"prefix":"10.22501","author":[{"family":"Saman Samadi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2020,9,28]],"date-time":"2020-09-28T01:18:59Z","timestamp":1601255939000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/718590\/718591"}},"issued":{"date-parts":[[2020,9,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.718590","published":{"date-parts":[[2020,9,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,6,18]],"date-time":"2025-06-18T04:02:56Z","timestamp":1750219376424,"version":"3.41.0"},"posted":{"date-parts":[[2025,6,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,17]],"date-time":"2025-06-17T00:00:00Z","timestamp":1750118400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research stems from a sound archive of profound personal meaning: the damaged recording of a friend\u2019s last recital were she played the second movement of Mozart's C Minor Sonata. This corrupted file is a central material in my composition Concerto for an Absent Performer, a work-homage exploring absence and remembrance. My inquiry addresses: Considering the particularities of this archive, how can the iterative creation and modification of an audiovisual artefact, taking the imperfections (corruption or fragmentation) of the recording as its starting point, function as an artistic research method to analyze relationships between archival materiality, tactile memory, and what perceptual qualities and meanings around an absent-presence could be revealed or generated through this new mediation? Furthermore, what reflections on my compositional practice, the recontextualization of classical music references and systems (Mozart's Sonata, the use of scores, etc.), and the nature of mediated memory emerge from this process?\n\nThe hermeneutic approach is practice-led, involving an iterative creation\/development of the different audiovisual artifacts. This process also serves as a post-compositional and post-performance reflection, aiming to reflect on pre-existing compositional solutions within the Concerto, particularly its engagement with found sound material and the performance of 'tactile memory' via the piano automaton. Visual strategies employed in the audiovisual artefacts include the alternated illumination of Mozart\u2019s score excerpts and individual note heads; an emergent constellational network visualizing tentative connections within this mnemonic field; and a direct audiovisual correspondence where the archive's sonic noisiness visibly degrades the musical score's legibility. The distinct visual characteristics of each iteration, and how they might engage principles of Gestalt perception in organizing or disrupting form, will be key to analyze the different interactions with the concept of performed memory.\n\nThese audiovisual explorations are approached as a mode of experiential inquiry, investigating whether such artistic practice can function as a non-standard form of music theory by generating open-ended cognitions rather than definitive analytical statements. Within this framework, errors and glitches within the archival materials\u2014central to the Concerto's sound palette\u2014are framed as events that reveal the archive's material substrate and its haunting nature. Each visual configuration aims to transfigure these imperfections into expressive elements by making, as Arthur C. Danto says, the medium \u201copaque\u201d, thereby reflecting on the work\u2019s original aesthetic\/compositional choices. A subsequent cartography, composed of screenshots from the audiovisual artifacts, will analyze these visual iterations, articulating how the tactile medium (the piano automaton) activates imperfections and how each artefact might distinctly modulate perception and understanding.\n\nThis research, while engaging with the work of artists who have explored archival degradation in the past (e.g., William Basinski), focuses on how this specific iterative audiovisual process can illuminate my own compositional engagement with what Mark Fisher called Hauntology. It seeks to provide a deeper understanding of how the artistic re-framing of a broken archive could open avenues for reflecting on the cultural resonance of performance, the figure of the absent soloist, and the persistence of memory in technologically mediated forms.<\/jats:p>\n keywords: hauntology, Trauma; Memory;, Mozart, Archeology of sound<\/jats:p>","DOI":"10.22501\/rc.3709235","type":"posted-content","created":{"date-parts":[[2025,6,17]],"date-time":"2025-06-17T07:28:05Z","timestamp":1750145285000},"source":"Crossref","is-referenced-by-count":0,"title":["Mapping Noizart: A Cartography of Imperfection, Tactile Memory, and Performed Absence"],"prefix":"10.22501","author":[{"family":"Diego Pi\u00f1era","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,6,17]],"date-time":"2025-06-17T07:28:06Z","timestamp":1750145286000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3709235\/3709234"}},"issued":{"date-parts":[[2025,6,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3709235","published":{"date-parts":[[2025,6,17]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T07:40:18Z","timestamp":1743666018327,"version":"3.40.3"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T00:00:00Z","timestamp":1743638400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,4,3]]},"abstract":"In February 1967, a funeral service was held for the Georgian singer and choirmaster Artem Erkomaishvili. As they bore his body from the municipal theatre in Ozurgeti to his family plot in a nearby village, a recording of the Georgian Orthodox rite for the dead emanated from a portable tape player. The voice on the recording belonged to Artem himself \u2013 by this time, no one else in officially atheist Soviet Georgia knew the traditional requiem chants. The previous year, Artem had been involved in an experimental recording at the Tbilisi Conservatory, and he later applied the same technique to capture the three-part chants: going back and forth between two tape recorders, he overdubbed his own voice until all three parts were layered together. Artem\u2019s remarkable, six-decade career stretched from the earliest commercial recordings of Georgian folk music in 1907 to the widespread use of consumer tape-recording technology in the 1960s. His chant recordings \u2013 both the conservatory project and the private funeral tapes \u2013 were made outside of formal channels of music production and distribution, employing amateur equipment and foregrounding the intimacy of the unvarnished voice. In this way, they resemble magnitizdat, the private tape recordings of poetry and song that circulated unofficially in the late Soviet period (Daughtry 2009). Made at a time when sacred music was still heavily censored, Artem\u2019s recordings occupied the grey area between officially sanctioned and explicitly dissident expression. Building on recent work exploring sound in everyday Soviet experience (Cornish 2020) and expanding the discussion of Georgian music beyond the disciplines of folklore and ethnomusicology, I argue that such private practices of listening and recording provided a means for Georgians in the post-Thaw era to grapple with questions of faith, the loss of tradition, the polyphony of a fracturing state, and the afterlife of a single voice.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/jss.3509747","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T07:11:26Z","timestamp":1743664286000},"source":"Crossref","is-referenced-by-count":0,"title":["Singing at Your Own Funeral: Overdubbed Intimacy and the Persistence of Tradition in Soviet Georgia"],"prefix":"10.22501","author":[{"family":"Brian Fairley","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T07:11:26Z","timestamp":1743664286000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3509747\/3509748"}},"issued":{"date-parts":[[2025,4,3]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jss.3509747","published":{"date-parts":[[2025,4,3]]}},{"indexed":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T05:29:38Z","timestamp":1740806978407,"version":"3.38.0"},"posted":{"date-parts":[[2025,2,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,26]],"date-time":"2025-02-26T00:00:00Z","timestamp":1740528000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Integrity of science would surely be challenged by possibilities of bias, errors, mistakes or misinterpretations. Science is charged with methods evaluating the relevance and significance of these \u2014 even when the first-person singular, which doesn\u2019t sound objective, is in their research question of any scientific claim. With or without relevance and significance, I mash-up here a narrative with the scientific notes from Atat\u00fcrk\u2019s Nutuk \/ Discourse (1927) with respect to NATO.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3448285","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:07:51Z","timestamp":1740740871000},"source":"Crossref","is-referenced-by-count":0,"title":["A Note from an Independent Mix-Mash Research on Atat\u00fcrk\u2019s Nutuk \/ Discourse (1927) and Its Relevance to NATO"],"prefix":"10.22501","author":[{"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:07:51Z","timestamp":1740740871000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3448285\/3448284"}},"issued":{"date-parts":[[2025,2,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3448285","published":{"date-parts":[[2025,2,26]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:29Z","timestamp":1742358149579,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0066","type":"journal-article","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T13:41:56Z","timestamp":1703166116000},"source":"Crossref","is-referenced-by-count":0,"title":["Rethinking Artistic Research: A Review of Michael Schwab\u2019s \u2018Contemporary Research\u2019"],"prefix":"10.22501","author":[{"given":"Paulo","family":"di Assis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2023,12,21]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:32Z","timestamp":1742292212000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/rethinking-artistic-research-review-michael-schwabs-contemporary-research"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0066","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2023,12,21]]}},{"indexed":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T22:10:38Z","timestamp":1742249438372,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T00:00:00Z","timestamp":1742169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,3,17]]},"abstract":"\u201dFata Morgana. An Essay Journey\u201d explores the optical phenomenon of the Fata Morgana and its mythical namesake, Morgain Le Fay, as a figure of thought to explore transcultural and transgeographical relationships between landscape and identity. Conceived as an essay journey with artistic interventions, Fata Morgana argues for rethinking imagined geographies against the territorial bigotry prevalent in Europe and the world, against essentialist ideas of singular or linear origins. Instead, K\u00f6rschkes uses Fata Morgana as a motif, myth and method for artistic research, employing its ephemerality and \u201cdiffuse occurrences\u201d to relocate places into other places, narratives onto other narratives, and thus brings together different spatialities, temporalities and identities into brieftopian co-existence.<\/jats:p>\n keywords: spatial imaginaries, essayistic, feminism, Assemblage, artistic research, narratives, Myths, landscape, territory<\/jats:p>","DOI":"10.22501\/vis.2830599","type":"journal-article","created":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T21:35:00Z","timestamp":1742247300000},"source":"Crossref","is-referenced-by-count":0,"title":["Fata Morgana. An Essay Journey."],"prefix":"10.22501","author":[{"family":"Torben K\u00f6rschkes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T21:35:01Z","timestamp":1742247301000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2830599\/2985610"}},"issued":{"date-parts":[[2025,3,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/vis.2830599","published":{"date-parts":[[2025,3,17]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:06Z","timestamp":1742358186905,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0010","type":"journal-article","created":{"date-parts":[[2018,9,27]],"date-time":"2018-09-27T15:47:41Z","timestamp":1538063261000},"source":"Crossref","is-referenced-by-count":0,"title":["Breve Hist\u00f3ria \u2013 Artistic Research in Brazil"],"prefix":"10.22501","author":[{"given":"Gilbertto","family":"Prado","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Milton","family":"Sogabe","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Yara","family":"Guasque","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2018,5,20]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:50Z","timestamp":1742292170000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/breve-historia-artistic-research-brazil"}},"issued":{"date-parts":[[2018,5,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0010","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2018,5,20]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:09Z","timestamp":1742294409770,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0077","type":"journal-article","created":{"date-parts":[[2024,12,29]],"date-time":"2024-12-29T18:02:08Z","timestamp":1735495328000},"source":"Crossref","is-referenced-by-count":0,"title":["Comentarios al II Congreso Latinoamericano de Pr\u00e1ctica Art\u00edstica como Investigaci\u00f3n (Santiago de Chile, 2024)"],"prefix":"10.22501","author":[{"given":"Carolina","family":"Benavente Morales","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024,12,29]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:47Z","timestamp":1742292227000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/comentarios-al-ii-congreso-latinoamericano-de-practica-artistica-como-investigacion-santiago-de"}},"issued":{"date-parts":[[2024,12,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0077","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024,12,29]]}},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:57Z","timestamp":1759335177508,"version":"build-2065373602"},"posted":{"date-parts":[[2024,2,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,2,4]],"date-time":"2024-02-04T00:00:00Z","timestamp":1707004800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The microphonic process is the term I use to encapsulate how microphones, loudspeakers, and related media are used to support, extend, and innovate musical practice. In this research-creation thesis, I contextualize, document, and analyze my own application of the microphonic process \u2013 feedback saxophone. My feedback saxophone system combines the unique characteristics of the tenor saxophone with the idiosyncrasies of various microphones and loudspeakers to produce and manipulate acoustic feedback. While there are examples of similar systems, there is no standardization and little documentation exists outside of audio recordings. Furthermore, my work employs feedback in a systematized fashion that challenges its conventional, indeterminate use in performance and composition.\n\nTo support this research-creation, I discuss the history of the microphonic process, examine contemporary \u201cmicrophonic\u201d practices, and use these findings to describe and analyze my own works. For the history of the microphonic process, I discuss how microphone amplification changed popular vocal technique through the work of early-microphone singer Bing Crosby. I then discuss how microphonic instrumentaria were variously employed by avant-garde and popular artists using the examples of Mikrophonie I by Karlheinz Stockhausen, Hugh Davies\u2019 feedback work Quintet, and the guitar-feedback practice of Jimi Hendrix.\n\nFollowing this discussion of instrumentaria, I establish the contemporary context in which my research-creation occurs by examining two present-day microphonic saxophonists, Colin Stetson and John Butcher. I use their distinct electroacoustic practices as a springboard to explain recent musical-technological trends: from the accelerating consumption of digital media in the new paradigm of sound, to the reactionary concepts of post-digitalism and the minimally augmented instrument. Lastly, I describe the creation of three concert etudes for my post-digital, minimally augmented feedback saxophone system, and critically examine the new works\u2019 processes of creation, musical materials, and aesthetics.<\/jats:p>\n keywords: saxophone, Feedback, feedback loops, electroacoustic music, electroacoustic composition, improvisation, research-creation, artistic research, loudspeaker technology, microphones, music, Augmented Instruments, post-digital<\/jats:p>","DOI":"10.22501\/rc.2214806","type":"posted-content","created":{"date-parts":[[2024,2,4]],"date-time":"2024-02-04T17:02:31Z","timestamp":1707066151000},"source":"Crossref","is-referenced-by-count":0,"title":["Feedback Saxophone: Expanding the Microphonic Process in Post-Digital Research-Creation"],"prefix":"10.22501","author":[{"family":"Greg Bruce","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:22Z","timestamp":1759302622000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2214806\/2214807"}},"issued":{"date-parts":[[2024,2,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2214806","published":{"date-parts":[[2024,2,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:11:47Z","timestamp":1759335107247,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","license":[{"start":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T00:00:00Z","timestamp":1672272000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,12,29]]},"abstract":"This exposition details a methodology for artistic research based on the book Utopia as Method by sociologist Ruth Levitas. It involves specific methods at three levels of analysis: archaeological, architectural, and ontological. Practical work is produced using archaeological and architectural methods, aimed at triangulating onto contemporary ontological issues. The term \u2018topian\u2019 was chosen in order to incorporate both utopian and dystopian perspectives \u2014 this term, from the Greek \u2018topos\u2019 meaning place, frames an artistic practice in relation to one or more sites of investigation. \n\nThe methodology was applied in a residency project split between London and Athens, focused on sculptures from the Parthenon that link the two cities. Museums in both cities served as sites of archaeological and architectural investigation. Work included speculative site mapping and stratigraphy, drawing and photography of artefacts, printmaking, and 3D modelling. Works were exhibited in a group exhibition in Athens, \u2018Contemporary Archaeologies\u2019.<\/jats:p>\n keywords: utopia, dystopia, architecture, Archaeology, ontology<\/jats:p>","DOI":"10.22501\/jar.940881","type":"journal-article","created":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T06:18:20Z","timestamp":1672294700000},"source":"Crossref","is-referenced-by-count":0,"title":["A topian artistic methodology"],"prefix":"10.22501","author":[{"family":"Kevin Walker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:13Z","timestamp":1759302613000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/940881\/1821932"}},"issued":{"date-parts":[[2022,12,29]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jar.940881","published":{"date-parts":[[2022,12,29]]}},{"indexed":{"date-parts":[[2026,1,13]],"date-time":"2026-01-13T14:52:32Z","timestamp":1768315952507,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,13]],"date-time":"2026-01-13T00:00:00Z","timestamp":1768262400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Contemporary art criticism often advances by way of interpretive extraction. Works are translated into meanings, themes, intentions, and arguments, which then circulate with remarkable efficiency through institutional language. This practice, for all its fluency, carries an unexamined cost: the quiet displacement of the viewer, the compression of encounter into explanation, and the steady accumulation of linguistic force where restraint might have sufficed. _Measuring Proximity_ proposes a post-interpretive diagnostic tool situated within the framework of Post-Interpretive Criticism (PIC). It does not ask whether an interpretation is correct, persuasive, or useful. Instead, it attends to posture, how critical language positions itself in relation to the artwork, how closely it remains, how quickly it resolves, and how readily it aligns.The framework emerges from a refusal of rigid disciplinary boundaries. It proceeds from the conviction that once inquiry is pursued with sufficient depth, the familiar divisions between philosophy, criticism, rhetoric, ethics, and analysis begin to collapse, revealing a shared terrain of attention and care. In this sense, the diagnostic experiment does not belong to a single \u201csubject,\u201d nor does it attempt to formalize one. Five diagnostic indices, Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI), are introduced as reflective instruments for tracing the behavior of language rather than adjudicating its claims.The framework is intentionally non-prescriptive and exploratory, offered in the spirit of a serious experiment, one that treats measurement not as authority, but as curiosity. These measures do not seek to replace interpretation, nor to govern style or method. They operate as a mirror, rendering visible the pressures already at work within critical discourse. What emerges is not a system of judgment, but a way of noticing: a playful yet disciplined attempt to see where explanation begins to outweigh encounter, and where proximity quietly gives way to possession.Rhetorical density enters this framework by way of inheritance rather than invention. Its articulation as a formal, measurable feature of language was first developed by Mandar Marathe and introduced to the research community through presentations at venues such as QUALICO 2025 at Masaryk University and the Digital Humanities Conference at SOAS University of London. Later implementations, including the BALAGHA Score (2025\u20132026), extended its use toward the measurement of rhetorical richness in Arabic-language texts. Here, rhetorical density functions simply as a descriptive register of linguistic intensity. The remaining indices: Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI), all emerge from within Post-Interpretive Criticism itself and belong specifically to its diagnostic orientation.The framework is not intended to guide the production of criticism, nor does it imply an ideal direction or outcome; it functions only as a means of reflecting on critical language after it has already been written.<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Adab for Art, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, The Journal of Post-Interpretive criticism, The Journal of Post-Interpretive criticism ISSN 2819-7232), The Journal of Post-Interpretive Criticism (Q136530009), \u00a0Interpretive Load Index (ILI)\u00a0(Q137709526), Viewer Displacement Ratio (VDR)\u00a0(Q137709583)\u00a0, Ethical Proximity Score (EPS)\u00a0(Q137709600)\u00a0, Institutional Alignment Indicator (IAI)\u00a0(Q137709608), Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Independent Philosopher of Art, Post-Aesthetic Critic, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, Epistemology of witness, Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Art as Ontology, Custodianship of Art, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics<\/jats:p>","DOI":"10.22501\/rc.4094981","type":"posted-content","created":{"date-parts":[[2026,1,13]],"date-time":"2026-01-13T09:24:00Z","timestamp":1768296240000},"source":"Crossref","is-referenced-by-count":0,"title":["Measuring Proximity: A Post-Interpretive Diagnostic Experiment in Art Criticism A Diagnostic Lens on Ethical Witnessing in Art Criticism"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,13]],"date-time":"2026-01-13T09:24:00Z","timestamp":1768296240000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4094981\/4094980"}},"issued":{"date-parts":[[2026,1,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4094981","published":{"date-parts":[[2026,1,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,5,16]],"date-time":"2025-05-16T04:02:25Z","timestamp":1747368145250,"version":"3.40.5"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T00:00:00Z","timestamp":1747267200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,15]]},"abstract":"This work explores the balance between tradition and innovation in classical music performance, focusing on Franz Liszt's interpretation of Beethoven's music and the concept of Geist (spirit). It traces Liszt's evolution from his early studies with Carl Czerny, a direct pupil of Beethoven, through his virtuosic performance years, to his later focus on preserving Beethoven's legacy as a teacher. Drawing on sources from musicians and scholars, the study examines the philosophical and practical challenges of authenticity, highlighting the tension between historical accuracy and artistic expression. It argues that authenticity should not rigidly reproduce the past but should capture the spirit of the music in a way that resonates with contemporary audiences. Ultimately, the study advocates for a balanced approach, honoring historical sources while allowing for personal creative interpretation. By examining Liszt's legacy, this work aims to inform and inspire my own performance practices, blending historical performance studies with personal expression.<\/jats:p>\n keywords: Authenticity, freedom, historically informed performance<\/jats:p>","DOI":"10.22501\/koncon.3173139","type":"journal-article","created":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T06:17:17Z","timestamp":1747289837000},"source":"Crossref","is-referenced-by-count":0,"title":["\ud835\ude0e\ud835\ude26\ud835\ude2a\ud835\ude34\ud835\ude35\ud835\ude23\ud835\ude36\ud835\ude34\ud835\ude35\ud835\ude26\ud835\ude33\ud835\ude34: The Search for Liberty in Authenticity Through Franz Liszt's Interpretation of Beethoven's music"],"prefix":"10.22501","author":[{"family":"Aruth Masrangsan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T06:17:18Z","timestamp":1747289838000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3173139\/3203386"}},"issued":{"date-parts":[[2025,5,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3173139","published":{"date-parts":[[2025,5,15]]}},{"indexed":{"date-parts":[[2025,9,3]],"date-time":"2025-09-03T00:05:13Z","timestamp":1756857913609,"version":"3.44.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,9,2]],"date-time":"2025-09-02T00:00:00Z","timestamp":1756771200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2025,9,2]]},"abstract":"Med utgangspunkt i kunstneriske framstillinger av Arkadiamotivet, og med pastoralen som optikk, vil dette prosjektet utforske \u00abutopiske\u00bb forestillinger om fortiden, gjennom arbeid i ulike kunstneriske uttrykksformer, i tekstil, skulptur og tekst.<\/jats:p>\n keywords: artistic processes, artwork, arkadia, pastorale, Rome, sculptures, Textile art, landscape, rivers, KMD_Art<\/jats:p>","DOI":"10.22501\/kmd-ar.3750619","type":"journal-article","created":{"date-parts":[[2025,9,2]],"date-time":"2025-09-02T10:57:16Z","timestamp":1756810636000},"source":"Crossref","is-referenced-by-count":0,"title":["ARKADIA"],"prefix":"10.22501","author":[{"family":"Anne Skaansar","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,9,2]],"date-time":"2025-09-02T10:57:16Z","timestamp":1756810636000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3750619\/3750620"}},"issued":{"date-parts":[[2025,9,2]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.3750619","published":{"date-parts":[[2025,9,2]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T19:10:19Z","timestamp":1754161819761,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T00:00:00Z","timestamp":1753747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,7,29]]},"abstract":"NORSK:\nI dette kunstneriske utviklingsarbeidet unders\u00f8ker jeg hvordan norsk folkemusikk kan integreres i mitt etablerte musikalske sound. Gjennom lytting, refleksjon og skapende praksis har jeg latt tradisjonsmusikkens estetikk og uttrykk p\u00e5virke mitt eget formspr\u00e5k. Arbeidet har resultert i albumet \"Relasjonsorkester\", der jeg utforsker m\u00f8tepunktene mellom tradisjon og samtid i tre utvalgte l\u00e5ter: \"Hei, hallo\", \"Tankerom\" og \"Langsiktig sparing\". Prosessen har vist at respektfull lytting, tilegning av teoretisk kunnskap og bevisste kunstneriske valg er avgj\u00f8rende for \u00e5 forankre nye uttrykk i en levende tradisjon. Oppgaven reflekterer over hvordan tradisjonen kan bli en del av egen kunstnerisk identitet, uten \u00e5 m\u00e5tte bli en tradisjonsb\u00e6rer i klassisk forstand.\n\nENGLISH:\nThis artistic research project explores how Norwegian folk music can be integrated into my established musical sound. Through listening, reflection, and creative practice, I have allowed the aesthetics and expression of folk tradition to influence my own musical language. The project resulted in the album \"Relasjonsorkester\", where I explore the intersections between tradition and contemporary music through three selected songs: \u201cHei, hallo\u201d, \u201cTankerom\u201d, and \u201cLangsiktig sparing\u201d. The process demonstrates that respectful listening, acquisition of theoretical knowledge, and conscious artistic choices are essential for grounding new expressions within a living tradition. The thesis reflects on how tradition can become a part of one\u2019s artistic identity without necessarily becoming a traditional bearer in the conventional sense.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/uia.3592549","type":"journal-article","created":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:24:01Z","timestamp":1753788241000},"source":"Crossref","is-referenced-by-count":0,"title":["Relasjonsorkester"],"prefix":"10.22501","author":[{"family":"Reidun Ottersen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:24:01Z","timestamp":1753788241000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3592549\/3592550"}},"issued":{"date-parts":[[2025,7,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.3592549","published":{"date-parts":[[2025,7,29]]}},{"indexed":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T12:33:54Z","timestamp":1764765234846,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,12,11]],"date-time":"2020-12-11T00:00:00Z","timestamp":1607644800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2020,12,11]]},"abstract":"- Et kunstnerisk eksperiment<\/jats:p>\n keywords: KMD_Grieg<\/jats:p>","DOI":"10.22501\/kmd-ar.1067701","type":"journal-article","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T04:29:58Z","timestamp":1623040198000},"source":"Crossref","is-referenced-by-count":0,"title":["BETYDNINGEN AV KLANGLIGE OG VISUELLE ROM I INNSPILT MUSIKK"],"prefix":"10.22501","author":[{"family":"Mari Nesvold","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T12:29:02Z","timestamp":1764764942000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1067701\/1067702"}},"issued":{"date-parts":[[2020,12,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1067701","published":{"date-parts":[[2020,12,11]]}},{"indexed":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T16:05:45Z","timestamp":1765296345165,"version":"3.46.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T00:00:00Z","timestamp":1765238400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,12,9]]},"abstract":"This essay examines the subjective perception of time during the performance of long musical forms from the perspective of the performer. The starting point is the composition \"Haltezeit\", which works specifically with the stretching of time. Two improvisational performances without an audience will be used to explore how the perception of time changes in the course of performances lasting several hours and how this influences improvisational behavior. Practical experience is combined with concepts from the fields of philosophy, performance studies and musical improvisation research. The artistic experiments show that physical states such as tiredness or tension as well as external disturbances significantly influence the subjective perception of duration. While inner restlessness led to an extended experience of time and more frequent improvisational interventions, calmness and concentration favored a condensed, meditative experience of time with less frequent changes.Artistic practice thus becomes an experiential space for a qualitative perception of time beyond measurable structures. The essay sees itself as an open research gesture that invites us to perceive time more consciously as a flowing continuum in a performative context.<\/jats:p>\n keywords: long durational composition, artistic time research, subjective perception of time, attention<\/jats:p>","DOI":"10.22501\/hub.3607770","type":"journal-article","created":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T15:39:42Z","timestamp":1765294782000},"source":"Crossref","is-referenced-by-count":0,"title":["between the minutes"],"prefix":"10.22501","author":[{"family":"Ina Thomann","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T15:39:42Z","timestamp":1765294782000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3607770\/3607771"}},"issued":{"date-parts":[[2025,12,9]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/hub.3607770","published":{"date-parts":[[2025,12,9]]}},{"indexed":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T17:23:40Z","timestamp":1767029020401,"version":"3.48.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"37","license":[{"start":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T00:00:00Z","timestamp":1766966400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,12,29]]},"abstract":"The research project BODIES IN TRANSITION (2023-2024) searches for sensitive and collaborative bodies of the future by interlacing voices and materials from the Wadden Sea into a cosmology of plants, animals, bacteria, humans and planets. In the context of global crises, which appear as symptoms of a patriarchal and hierarchical self-understanding of human existence, three performers travel to the island of Sylt (Germany) to relearn \u2018being\u2019 in this more-than-human-world. Performative research is undertaken in the protection zone 1, the Morsum cliff and the mudflats near Munkmarsch. These dynamic ecosystems, with their tidal rhythms dictated by the moon and sun and their diverse life forms, ranging from Japanese berry seaweed to Pacific oysters, make the world\u2019s processualism perceptible and remind us that our lives are intertwined with dynamic ecosystems. The performers immerse themselves in a fluid space of video, sound, natural materials, and performance, rethinking and questioning the diverse relationships between the organisms of the Wadden Sea and their own state as living beings. The leading question of this research is what we can learn from this dynamic interplay, to transform our existence with planet Gaia and all its organisms into a sensitive and resilient future.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=4081900&file=4083696\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/span><\/jats:p>\n keywords: ecology, transition, gaia, embodiment, performance, water<\/jats:p>","DOI":"10.22501\/jar.3008895","type":"journal-article","created":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T17:21:47Z","timestamp":1767028907000},"source":"Crossref","is-referenced-by-count":0,"title":["Bodies in Transition"],"prefix":"10.22501","author":[{"family":"Anja Plonka","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Laura Brechmann","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Marko Stefanovic","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Rasmus Nordholt-Frieling","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T17:21:48Z","timestamp":1767028908000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3008895\/3008896"}},"issued":{"date-parts":[[2025,12,29]]},"references-count":0,"journal-issue":{"issue":"37"},"URL":"https:\/\/doi.org\/10.22501\/jar.3008895","published":{"date-parts":[[2025,12,29]]}},{"indexed":{"date-parts":[[2025,10,4]],"date-time":"2025-10-04T00:33:15Z","timestamp":1759537995590,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2025,10,3]],"date-time":"2025-10-03T00:00:00Z","timestamp":1759449600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["abkw"],"published-print":{"date-parts":[[2025,10,3]]},"abstract":"From Dust to Dusts is a richly illustrated exploration of air\u2019s hidden materiality and the plural worlds of dust. Drawing from the interdisciplinary practice of the Vienna based Dusts Institute, the book reveals dusts as more than residue: they are carriers of histories, markers of transformation, and agents of connection across geographies, species, and time.\n\nBlending artistic research, environmental science, architecture, and public engagement, the publication traces projects such as the Dusts Catcher Kit, Dusts-Free Chamber, Biopatina Workshop, and the large-scale Airsight Deck installation. These interventions make the invisible visible while capturing airborne particles, revealing microbial ecologies on building fa\u00e7ades, and transforming air into a perceptible, participatory medium.\n\nEssays and visual documentation unpack the Institute\u2019s concept of \u201cdustsing\u201d: a methodology of sensing, collecting, and activating dusts to challenge assumptions about cleanliness, permanence, and environmental stewardship. Moving from microscopic particulate matter to planetary airflows, the book examines dusts as both pollutants and ecological contributors, revealing their role in climate systems, biodiversity, and urban atmospheres.\n\nA call for attunement and care, From Dust to Dusts invites readers to rethink air not as empty space but as a shared, contested, and dynamic commons, one that is continuously inscribed by the smallest particles we live among.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/abkw.3817318","type":"journal-article","created":{"date-parts":[[2025,10,3]],"date-time":"2025-10-03T08:50:51Z","timestamp":1759481451000},"source":"Crossref","is-referenced-by-count":0,"title":["From Dust to Dusts"],"prefix":"10.22501","author":[{"family":"Hudec Adam","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Akademie der Bildenden K\u00fcnste Wien"],"language":"en","deposited":{"date-parts":[[2025,10,3]],"date-time":"2025-10-03T09:55:00Z","timestamp":1759485300000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3817318\/3817317"}},"issued":{"date-parts":[[2025,10,3]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/abkw.3817318","published":{"date-parts":[[2025,10,3]]}},{"indexed":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:24:52Z","timestamp":1759883092726,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T00:00:00Z","timestamp":1759795200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Post-Interpretive Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing\nAuthor: Dorian Vale\n\nThis doctrinal essay codifies the foundational ethics and philosophy of Post-Interpretive Criticism\u2014a radical departure from traditional art writing that prioritizes interpretation, explanation, and performative analysis.\n\n \n\nIn its place, Dorian Vale introduces a critical framework rooted in restraint, witness, and moral proximity. Rather than dissecting or decoding art, this doctrine teaches the critic to hold space, remain present, and write with reverence. Art, especially that which emerges from grief, trauma, displacement, or sacred silence, is not a puzzle to be solved\u2014but a presence to be honored.\n\n \n\nThis doctrine offers a structured alternative to the dominant critical paradigms. It affirms that the most ethical art writing does not always speak\u2014it listens. It does not clarify\u2014it shelters. It does not interpret\u2014it witnesses.\n\n \n\nBlending philosophy, aesthetic ethics, and literary rigor, this foundational text establishes Post-Interpretive Criticism as both a movement and a method. It calls for nothing less than a revolution in the way we engage with meaning, silence, and the unseen.\n\n \n\nVale, Dorian. Post-Interprative Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing. Museum of One, 2025. DOI: 10.5281\/zenodo.17012559\n\nDorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.\n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)\n\nPost-Interpretive Criticism, art criticism ethics, Dorian Vale, doctrine of restraint, moral proximity in art, witness-based art writing, contemporary art theory, post-critical aesthetics, slow art, minimal criticism, sacred witnessing, aesthetic responsibility, trauma in art, ethical language in criticism, writing without harm, non-interpretive criticism, viewer as evidence, presence in art, philosophical criticism, art and reverence<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Adab for Art, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Contemporary sacred aesthetics, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, Post-Interpretive Lexicon, art, Art Criticism, Criticism, Fine Arts<\/jats:p>","DOI":"10.22501\/rc.3921018","type":"posted-content","created":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T15:22:54Z","timestamp":1759850574000},"source":"Crossref","is-referenced-by-count":0,"title":["Post-Interprative Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T15:22:54Z","timestamp":1759850574000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921018\/3921017"}},"issued":{"date-parts":[[2025,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921018","published":{"date-parts":[[2025,10,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T09:10:18Z","timestamp":1759828218199,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T00:00:00Z","timestamp":1759795200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Dimensions of an Encounter: A Sculpture & Its Shadow explores how sculpture negotiates the opposing forces of gravity and levity, presence and absence, object and support. Tracing a lineage from Leibniz\u2019s theory of individuation to Melanie Klein\u2019s theory of object recognition to various sculptural practices, the essay considers how spatial arrangement mediates psychic projection and self-recognition.<\/jats:p>\n keywords: gravity, levity, minimalism, modernism, melanie klein, leibniz, sculpture, isa genzken, Br\u00e2ncu\u0219i, monadology, rachel harrison, unism, dimensionism, anne truitt, donald judd<\/jats:p>","DOI":"10.22501\/rc.3919694","type":"posted-content","created":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T08:31:41Z","timestamp":1759825901000},"source":"Crossref","is-referenced-by-count":0,"title":["Dimensions of an Encounter: A Sculpture &amp; Its Shadow"],"prefix":"10.22501","author":[{"family":"Camille Clair","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T08:31:41Z","timestamp":1759825901000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3919694\/3919693"}},"issued":{"date-parts":[[2025,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3919694","published":{"date-parts":[[2025,10,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,27]],"date-time":"2026-03-27T23:51:26Z","timestamp":1774655486722,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,28]],"date-time":"2026-03-28T00:00:00Z","timestamp":1774656000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exhibition serves as a companion to the paper \"MACHINA INQUIETA\" and showcases several media examples from the project.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4294138","type":"posted-content","created":{"date-parts":[[2026,3,27]],"date-time":"2026-03-27T23:01:43Z","timestamp":1774652503000},"source":"Crossref","is-referenced-by-count":0,"title":["MACHINA INQUIETA (media examples)"],"prefix":"10.22501","author":[{"family":"Marco D\u00f6ttlinger","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Thomas Grill","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Patrik Lechner","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Arthur Flexer","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,27]],"date-time":"2026-03-27T23:01:43Z","timestamp":1774652503000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4294138\/4294139"}},"issued":{"date-parts":[[2026,3,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4294138","published":{"date-parts":[[2026,3,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,1,31]],"date-time":"2026-01-31T04:59:05Z","timestamp":1769835545829,"version":"3.49.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2023,11,9]]},"abstract":"Cochineal is an insect that has been used for textile dyeing since pre-Hispanic cultures in Mexico. This exposition discusses the use of the cochineal insect as a natural dye for wool and the bridge between ancient indigenous knowledge and contemporary artistic research. A transatlantic connection is created between the Mexican plateau and the Arctic region, merging traditional knowledge, contemporary art, crafting and conceptualisation through an artistic embroidery initiative involving researchers, craft artists and human rights activists living in the province of Lapland in Finland. Documentary photos of artistic practice and research diaries enhance discussion on sustainability, tradition, craftivism, decolonisation and indigenous knowledge. This exposition embraces collaborative craftivism through a group initiative called Embroidered Stances, discussions about material interconnectedness in a web-of-life conceptual structure that includes sheep wool, cactus, cochineal and ancestral knowledge. The endorsement of material sensitivity is narrated into embroideries by the first author Cervantes and discussed, acknowledging complexities within issues of cultural and ecological sustainability.<\/jats:p>","DOI":"10.22501\/ruu.1927154","type":"journal-article","created":{"date-parts":[[2023,11,9]],"date-time":"2023-11-09T13:04:06Z","timestamp":1699535046000},"source":"Crossref","is-referenced-by-count":1,"title":["Stitching for Material Sensitivity: From Traditional to Activist Embroidery"],"prefix":"10.22501","author":[{"family":"Fabiola Hernandez Cervantes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Maria Huhmarniemi","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:10Z","timestamp":1727193550000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1927154\/1927929"}},"issued":{"date-parts":[[2023,11,9]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1927154","published":{"date-parts":[[2023,11,9]]}},{"indexed":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T17:19:29Z","timestamp":1772039969653,"version":"3.50.1"},"posted":{"date-parts":[[2026,2,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T00:00:00Z","timestamp":1771977600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"(Mini-)Zines waren und sind ein bew\u00e4hrtes Publikationsformat in marginalisierten Personengruppen, in subkulturellen und aktivistischen Milieus sowie in Fancommunitys. In diesem Sinne sind sie ein wichtiges Medium der Selbsterm\u00e4chtigung, was ihren Einsatz unter anderem in Lern- und Lehrkontexten spannend und lohnend macht: Individuell oder kollaborativ gestaltete Mini-Zines bieten viel Raum f\u00fcr Kreativit\u00e4t, partiale Perspektiven und Teilhabe.Der Leitfaden skizziert exemplarisch die Konzeption und Durchf\u00fchrung eines Maker-Tags (bzw. eines praxisorientierten Blockseminars oder eines Workshops) zum Thema \u201eMini-Zine\u201c im Umfang von ca. sechs Semesterwochenstunden (SWS). Der Maker-Tag fokussiert das (Mini-)Zine explizit als kulturkritisches Medium und Format. Die (interdisziplin\u00e4ren) Maker-Tage gehen dem \u201apractice turn\u2018 auf den Grund und regen Studierende zum Nachdenken \u00fcber die Verbindung zwischen Forschung, Theorie und Praxis an. Sie bieten den Studierenden die Gelegenheit, durchs 'Machen', induktiv zu theoretischen (Er-)Kenntnissen zu gelangen, die Relevanz sowohl \u201atheoretischer\u2018 als auch \u201apraktischer\u2018 Ans\u00e4tze wie Ihre Wechselwirkung zu durchdenken und zu praktizieren. Im Rahmen der Maker-Tage geht es unter anderem um die Reflexion ausgew\u00e4hlter Forschungspraktiken als Medien und kulturelle Ph\u00e4nomene und nicht zuletzt um die Erprobung alternativer Lehr-, Lern- und Pr\u00fcfungsformate.<\/jats:p>\n keywords: Zine, Activism, Maker Culture, Praxistheorie, Education, Teaching, Teacher Education, Practice Turn, Research<\/jats:p>","DOI":"10.22501\/rc.4157115","type":"posted-content","created":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T16:43:43Z","timestamp":1772037823000},"source":"Crossref","is-referenced-by-count":0,"title":["Maker-Tag \"Wie geht Forschen mit ... Mini-Zine?\" Leitfaden zur Konzeption und Planung"],"prefix":"10.22501","author":[{"family":"Adrianna Hlukhovych","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T16:43:44Z","timestamp":1772037824000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4157115\/4157116"}},"issued":{"date-parts":[[2026,2,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4157115","published":{"date-parts":[[2026,2,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T20:41:11Z","timestamp":1776804071716,"version":"3.51.2"},"posted":{"date-parts":[[2026,4,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T00:00:00Z","timestamp":1776729600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The First Break Since Postmodernism: The Rise of Post-Interpretive Criticism introduces a groundbreaking movement in contemporary art criticism that formally departs from postmodernism and post-criticism. Post-Interpretive Criticism (PIC), developed by writer and founder Dorian Vale, redefines the role of the critic through five foundational frameworks: Absential Aesthetics, HauntMark Theory, Stillmark Theory, Viewer-as-Evidence, and Message Transfer Theory. These concepts prioritize ethical presence, moral restraint, and reverent witnessing over traditional interpretation or theoretical dominance. Structured as a philosophical reorientation, PIC positions criticism as an act of custodial attention, not conquest. It emphasizes proximity without possession, silence without erasure, and writing as transformation rather than performance. Unlike movements born from academic consensus, PIC was authored and launched independently through the Museum of One, with formal infrastructure including DOI-linked publications, public archives, and a living lexicon. This work argues that Post-Interpretive Criticism is the first fully articulated philosophical school of aesthetic thought to emerge since postmodernism\u2014complete in theory, practice, and authorship. It reclaims criticism not as explanation, but as responsibility.Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of artMoral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Founder of Post-Interpretive Criticism, Dorian Vale, Post-Aesthetic Critic, Independent Philosopher of Art, Art Writer and Theorist, Museum of One, Aesthetic Philosopher, Custodian of Witness Aesthetics, Museum of One Manifesto, Erasure as Afterlife, Language as Custody, Interpretation vs. Witnessing, The Viewer as Evidence, Art as Presence, Art as Truth, The Canon of Witnesses, The Custodian\u2019s Oath, The Doctrine of Post-Interpretive Criticism, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Interpretive Restraint, Radical art restraint, Witness over interpretation, Quiet philosophy of art<\/jats:p>","DOI":"10.22501\/rc.4375260","type":"posted-content","created":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T19:47:37Z","timestamp":1776800857000},"source":"Crossref","is-referenced-by-count":0,"title":["The First Break Since Postmodernism: The Rise of Post-Interpretive Criticism [New Version - 2026-04-21 21:42]"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T19:47:37Z","timestamp":1776800857000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4375260\/4375259"}},"issued":{"date-parts":[[2026,4,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4375260","published":{"date-parts":[[2026,4,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,20]],"date-time":"2026-05-20T14:39:06Z","timestamp":1779287946580,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"This paper describes how sound engineers in Jamaica fine-tune the huge and powerful dancehall sound systems to achieve their best auditory performance. This provides an example of how cybernetic systems combine musical and technological processes. The phonographic apparatus of the set utilizes three basic material electromagnetic processes: (1) power; (2) control (Bateson 1987) and (3) transduction (Simondon 1992). The sound System engineers fine-tune with a technique of compensation, described in terms of two corporeal sensorimotor practices: (1) the kinetic motor process of manipulating the value of particular components, or substituting one for another and (2) the haptic sensory process of monitoring the auditory output of the set. Further, the engineers are engaged in (3) evaluating or skilled listening (Sterne 2003) for the particular sonic qualities such as \u201cbalance,\u201d \u201cweight\u201d and \u201cattack\u201d that the fine-tuning aims to achieve. Engineers learn to evaluate, select and combine sounds in the sociocultural milieu of an apprenticeship \u2013 as elements of a communication system (Wilden 1972).\n\nAn earlier version of this paper was presented at the 18th International Conference on Systems Research, Informatics & Cybernetics. 7 to 12th August, 2006, Baden-Baden, Germany.<\/jats:p>","DOI":"10.22501\/jss.223120","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:55Z","timestamp":1733149555000},"source":"Crossref","is-referenced-by-count":1,"title":["Auditory and Technological Culture: the Fine-tuning of the Dancehall Sound System \u201cSet\u201d"],"prefix":"10.22501","author":[{"family":"Julian Henriques","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:55Z","timestamp":1733149555000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/223120\/223121"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.223120","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:07:03Z","timestamp":1779804423420,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"This paper investigates the ways that contemporary experimental music reifies contemporary capitalist temporal logic. The thesis argues that time-consciousness is embedded within musical form, manifesting as a state of \u2018horizon collapse\u2019 where temporal meaning is foreclosed, and the past and future are flattened into the present.The theoretical framework integrates Anna Kornbluh\u2019s theories of immediacy, Franco \u2018Bifo\u2019 Berardi\u2019s concept of semiocapitalism, and a \u2018margins-without-centre\u2019 spatial-temporal model adapted from John Sheppard. To mediate between political economy and musicology, the research utilises Georgina Born\u2019s quadripartite model of musical time, which identifies societal, generic, retentional\/protentional, and internal formal structures as discrete sites of analysis. By applying Born\u2019s model, the results demonstrate that musical time is a site where capitalist logic is encoded. The analysis of the author\u2019s compositions reveals that while certain modes of reification may be unavoidable, a time-conscious approach to composition generates a dialectical tension between this reification and a search for alternative temporalities. This facilitates a self-critical modality of composition that considers the ethics of aesthetics often rendered invisible by capitalist production. There is no utopian work at the conclusion of this research \u2014 only the establishment of a trajectory that seeks to reclaim temporal continuity.The paper comprises two concurrent texts: the first analyses the political economy of time and the encoding of capitalist logics across Born\u2019s model. The second is a creative-reflective text featuring offshoots and deep dives into the author\u2019s compositions, including Immutable Transience (2024\u201325), Sp\u00e9culation (2025), and an in-depth quadripartite analysis of SLACK (2025).<\/jats:p>\n keywords: time, Political economy, Experimental music<\/jats:p>","DOI":"10.22501\/koncon.3988833","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:02:02Z","timestamp":1779800522000},"source":"Crossref","is-referenced-by-count":0,"title":["Horizon Collapse: experimental music and 21st-century temporality"],"prefix":"10.22501","author":[{"family":"Cory Latkovich","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:02:02Z","timestamp":1779800522000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3988833\/3988834"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3988833","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:24:12Z","timestamp":1725927852833},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"DOI":"10.22501\/koncon.1541868","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:33:20Z","timestamp":1725874400000},"source":"Crossref","is-referenced-by-count":0,"title":["An exploration of developing a convincing interpretation of Frank Bridge and Arnold Bax's Cello Sonata's"],"prefix":"10.22501","author":[{"family":"Harry Broom","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:33:22Z","timestamp":1725874402000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1541868\/1541869"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1541868","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:23:23Z","timestamp":1725927803423},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,7,4]]},"abstract":"Name: Isabelle Roelofs\n\nMain subject: Master Natural Horn\n\nResearch supervisor: Daniel Salbert\n\nTitle: How (not) to write a Bb French Horn beginners method book\n\nResearch question: How (not) to write a Bb French Horn beginners method book\n\nSummary of the results: As a horn teacher, I realize that the existing Dutch method books seem not to be written from the perspective of a beginning, young horn player. They show little consideration for the specific physical abilities of children at a young age when learning to play the horn, probably because those methods are mostly not written by a horn player. Therefore, I have researched the do's and don'ts behind writing a method book.\nIf playing the exercises in a method is not physically feasible, it can lead to frustration for the student, which, in my opinion, is detrimental to the learning process. I have always learned that moments of success are crucial for the development and maintenance of motivation. I find these moments of success lacking in existing Dutch-language horn methods. I also believe that they progress too quickly to emphasize reading notation. I notice that my own students often prioritize correctness over musicality.\nI have critically examined and compared the available Dutch horn method books. Additionally, I interviewed fellow horn teachers to gather their perspectives. Furthermore, I attended a lesson for young horn players at BASIS (Royal Conservatory of the Hague) where auditory learning takes precedence.\nI am not the first to consider writing my own method. Other horn teachers have embarked on this journey, each with their unique motivations. My research has revealed that I am not the only one who has critical thoughts about the existing horn method books. A significant part of the interviewed teachers also emphasized this same point.\nBased on the obtained results, I have outlined the initial steps that, in my opinion, are necessary for a starting young horn player, along with the corresponding range of tones.\n\nBiography:\nIsabelle Roelofs, an accomplished horn player and dedicated music teacher, earned degrees in French Horn and Music Education from Codarts University. Graduating with honors from the Royal Conservatory of Antwerp, she is currently pursuing a Master's in Natural Horn at The Hague Conservatory with Teunis van der Zwart. Isabelle is the founder of Belle Musique (2018), where she imparts her musical knowledge through personalized horn lessons, shaping the future of horn players step by step.<\/jats:p>","DOI":"10.22501\/koncon.1860088","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:35:47Z","timestamp":1725921347000},"source":"Crossref","is-referenced-by-count":0,"title":["How (not) to write a B\u266d french horn beginners method book"],"prefix":"10.22501","author":[{"family":"Isabelle Roelofs","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:35:48Z","timestamp":1725921348000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1860088\/2452775"}},"issued":{"date-parts":[[2024,7,4]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1860088","published":{"date-parts":[[2024,7,4]]}},{"indexed":{"date-parts":[[2022,3,29]],"date-time":"2022-03-29T03:26:13Z","timestamp":1648524373184},"reference-count":0,"publisher":"Universitetet i Bergen KMD","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/kmd-ar.1190485","type":"report","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:52:27Z","timestamp":1623055947000},"source":"Crossref","is-referenced-by-count":0,"title":["Masculinity and the Imagination of Outer Space: An Exercise in No Man\u2019s Sky"],"prefix":"10.22501","author":[{"given":"Eren","family":"Ileri","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,3,1]]},"deposited":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:52:27Z","timestamp":1623055947000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1190485\/1190486"}},"issued":{"date-parts":[[2021,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1190485","published":{"date-parts":[[2021,3,1]]}},{"indexed":{"date-parts":[[2022,4,5]],"date-time":"2022-04-05T19:01:47Z","timestamp":1649185307623},"posted":{"date-parts":[[2014,10,12]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.102467","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:54:33Z","timestamp":1498053273000},"source":"Crossref","is-referenced-by-count":0,"title":["On Performative Actions"],"prefix":"10.22501","author":[{"family":"Andrea Pagnes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2017,7,11]],"date-time":"2017-07-11T16:08:48Z","timestamp":1499789328000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/102467\/102468"}},"issued":{"date-parts":[[2014,10,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.102467","published":{"date-parts":[[2014,10,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:06Z","timestamp":1742294406936,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0049","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T15:27:41Z","timestamp":1640878061000},"source":"Crossref","is-referenced-by-count":0,"title":["Political Imagination and Artistic Research"],"prefix":"10.22501","author":[{"given":"Pilvi","family":"Porkola","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:16Z","timestamp":1742292196000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/political-imagination-and-artistic-research"}},"issued":{"date-parts":[[2021]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0049","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2021]]}},{"indexed":{"date-parts":[[2024,10,23]],"date-time":"2024-10-23T04:26:27Z","timestamp":1729657587496,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2024,10,22]]},"abstract":"\u0386\u03c6\u03c1\u03b9\u03ba\u03b1: A Certain Kind of Freedom is pivoting on artistic exploration and re-interpretation of a 'difficult' recent past. In part soundwalk, in part performance art, in part punk archaeology, in part getting lost in the dark; the work is a nocturnal rumination bringing together historical bewilderedness with first-person embodied experience of a place. The artist leads a night walk towards and inwards Agios Achillios island in Small Prespa Lake in Greece \u2013 near the borders of Albania, and North Macedonia \u2013 and back. En route, the walking audience is exposed to wildlife sounds and animal vocalisations, to orchestrated drama, and to historical records directly or indirectly concerning the broader geographical area and its significance during the Greek civil war.<\/jats:p>","DOI":"10.22501\/vis.2407165","type":"journal-article","created":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T18:47:00Z","timestamp":1729622820000},"source":"Crossref","is-referenced-by-count":0,"title":["A Certain Kind of Freedom"],"prefix":"10.22501","author":[{"family":"Marinos Koutsomichalis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T18:47:01Z","timestamp":1729622821000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2407165\/2893901"}},"issued":{"date-parts":[[2024,10,22]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/vis.2407165","published":{"date-parts":[[2024,10,22]]}},{"indexed":{"date-parts":[[2024,10,23]],"date-time":"2024-10-23T04:26:36Z","timestamp":1729657596117,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2024,10,22]]},"abstract":"Darkness Matters displays historic lightscapes, specifically at night, from petroglyphs to James Webb Telescope images. The exposition constructs a sort of cabinet of curiosities and wants to take the visitor on a private journey to a virtual exhibition space to re-embrace the endeavors under and around the nocturnal vault, an underrepresented micro-story of our times. By researching archive material, image recordings and other available data Costanza Julia Bani creates speculative reconstructions of our nights and our relationship to the universe behind the sky we can see with our naked eye. Starting from fireflies in olive groves, alpine forests and the Milky Way, the exposition becomes a visual experience around darknesses and light pollution that has been transforming our nocturnal habitat since the introduction of artificial light.<\/jats:p>","DOI":"10.22501\/vis.2366107","type":"journal-article","created":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T18:47:21Z","timestamp":1729622841000},"source":"Crossref","is-referenced-by-count":0,"title":["DARKNESS MATTERS"],"prefix":"10.22501","author":[{"family":"Costanza Julia Bani","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T18:47:22Z","timestamp":1729622842000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2366107\/2673453\/20\/20"}},"issued":{"date-parts":[[2024,10,22]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/vis.2366107","published":{"date-parts":[[2024,10,22]]}},{"indexed":{"date-parts":[[2024,11,7]],"date-time":"2024-11-07T05:26:10Z","timestamp":1730957170239,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"33","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,11,6]]},"abstract":"Throughout the history of China, from early dynasties into contemporary times, aspects of poetry, painting, and writing have been grounded in varied but deeply connected \u2018rules of rhythm\u2019. These \u2018rules\u2019 permeate in diverse yet identifiable and recognizable forms. The research in this project is aimed at both adopting and adapting these rules of rhythm or rhythmic patterns in an experimental form that reimagines a tradition of \u2018lyric aesthetics\u2019 in the context of the contemporary interplay between sound, image, and writing. In this sense, the investigation is at once one of \u2018reclamation\u2019 and extension. The basic \u2018question\u2019 in these experiments is whether it is possible to represent sonic patterns themselves \u2014 that is, by both visualizing sound structures and \u2018sonifying\u2019 visual forms (irrespective of textual content). The text focuses on the historical establishment of methodological approaches (as a way to identify their forms) and then transforming\/translating these in combinations made possible by blending the sonic and visual. As a particular attribute of Chinese expression, these \u2018rules\u2019 or forms are cultural traits that have endured through many centuries and challenges and, more importantly in this case, can be (re)iterated in dynamic, fluid, and revitalized contemporary artistic configurations that aim at seeing sound, writing sound, and performing rhythm.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n\n\n<a class=\"download-accessible\" href=\"download-media?work=3155507&file=3155517\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.1900487","type":"journal-article","created":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T07:39:36Z","timestamp":1730878776000},"source":"Crossref","is-referenced-by-count":0,"title":["Hearing Rhythm, Seeing Rhythm: A Research Approach to Reimagining Traditions of Chinese Poetic \u2018rules of rhythm\u2019"],"prefix":"10.22501","author":[{"family":"Ling Liu","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T20:27:36Z","timestamp":1730924856000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1900487\/3063482"}},"issued":{"date-parts":[[2024,11,6]]},"references-count":0,"journal-issue":{"issue":"33"},"URL":"https:\/\/doi.org\/10.22501\/jar.1900487","published":{"date-parts":[[2024,11,6]]}},{"indexed":{"date-parts":[[2025,7,8]],"date-time":"2025-07-08T04:05:48Z","timestamp":1751947548965,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,7]],"date-time":"2025-07-07T00:00:00Z","timestamp":1751846400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,7,7]]},"abstract":"This research and project will aim to answer the question \"How can I run an effective workshop for students on the Natural Horn?\". In preparing for a workshop, I will explore what to include to give young students from age 9 and up a fun and interesting learning experience. Students will be able to build their own horns from hosepipes and funnels, and then experiment and perform with these instruments and hopefully leave inspired in their own journeys with the early horn. I aim to document the necessary elements to create an interactive and educational experience.<\/jats:p>\n keywords: natural horn, Music in Public Space, interactive, workshop, instrument design, instrument, DIY<\/jats:p>","DOI":"10.22501\/koncon.3202792","type":"journal-article","created":{"date-parts":[[2025,7,7]],"date-time":"2025-07-07T08:47:57Z","timestamp":1751878077000},"source":"Crossref","is-referenced-by-count":0,"title":["Construction and Instruction: A Workshop for Students on the Natural Horn"],"prefix":"10.22501","author":[{"family":"Sarah Brien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2025,7,7]],"date-time":"2025-07-07T08:47:57Z","timestamp":1751878077000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3202792\/3202793"}},"issued":{"date-parts":[[2025,7,7]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3202792","published":{"date-parts":[[2025,7,7]]}},{"indexed":{"date-parts":[[2025,8,15]],"date-time":"2025-08-15T00:08:53Z","timestamp":1755216533369,"version":"3.43.0"},"posted":{"date-parts":[[2025,8,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,8,4]],"date-time":"2025-08-04T00:00:00Z","timestamp":1754265600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Bachelors\u2019s Programme in Dance Pedagogy at Stockholm University of the Arts, Sweden, have gone through a major restructuring leading to an updated program, on demand by students and staff. \n\nThis exposition gives you an overview of the process of changing the program during the years 2020 - 2023. It guides you through the phases of the change project, highlights documents governing and forming the changes made, and links to research that were conducted during the project period and that deepened the knowledge created through the change process. \n\nOur first step was to listen into the field\u2019s concerns and ideas about dance education today. We scanned the field for signals of change and created a collaborative map of dance pedagogical practices in contemporary times. From this map we derived design principles and scenarios for a new BA in Dance Pedagogy. After a workshop series with students of the department, it was decided that the new program should be based on the hybrid research methodology A\/R\/Tography. A new educational plan and course plans were created for the new BA. Courses corresponding to the positions as artist, researcher, and teacher of A\/R\/Tography were developed for the program, and dance genre specific courses were also created. All new courses of the program combines theory and practice, and students are prepared for a changing and complex work life combining artistic, teaching and researching practice. \n\nThis exposition is part of the peer-reviewed article: \u00d8stern, T. P., Reppen, C., O\u2019Connell, S., & Daneberg, M. (2025). Choreographer\/researcher\/teacher: Developing a\/r\/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2). https:\/\/doi.org\/10.7577\/ar.5460<\/jats:p>\n keywords: dance pedagogy, higher education, leadership, change, a\/r\/tography, higher dance education, professional learning community, expanded choreography<\/jats:p>","DOI":"10.22501\/rc.989428","type":"posted-content","created":{"date-parts":[[2025,6,28]],"date-time":"2025-06-28T07:26:02Z","timestamp":1751095562000},"source":"Crossref","is-referenced-by-count":0,"title":["Dance pedagogical practices in contemporary times: a new BA in Dance Pedagogy"],"prefix":"10.22501","author":[{"family":"Camilla Reppen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,8,4]],"date-time":"2025-08-04T13:42:54Z","timestamp":1754314974000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/989428\/989429"}},"issued":{"date-parts":[[2025,8,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.989428","published":{"date-parts":[[2025,8,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,4,4]],"date-time":"2025-04-04T12:40:11Z","timestamp":1743770411951,"version":"3.40.3"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2025,4,4]],"date-time":"2025-04-04T00:00:00Z","timestamp":1743724800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,4,4]]},"abstract":"Russia\u2019s war of aggression is a multidimensional process of conquest that expands its time and space through sound. As Russian forces continue their advance into Ukraine, seizing Ukrainian territories both \u201chorizontally\u201d and \u201cvertically,\u201d as warfare scholar Svitlana Matviyenko (2024) has argued, Ukrainians across the country find themselves living in the sonic expanse of Russian assault. This research paper refers to this experience as one of warbound, of a (sonically) lived relation to war. To explore this relation and situated relationality it may entail, I turn to the work of Ukrainian sound artists and practitioners who participated in collective audio streaming, seeking to recast the Ukrainian testimony of the Russian invasion as a contingent truth claim. The paper examines the 2022 iteration of the audio stream project Listen Live, constitutive to the Land To Return, Land To Care research-creation laboratory. The project is studied in the scope of its testimonial reach and activist pursuit, as well as its humanist and posthumanist performativity.<\/jats:p>\n keywords: Ukraine, war, wartime, audio stream, war sound, witnessing, testimony, materialism, posthumanism, ecology, Ukrainian, earthbound, warbound, belliphonic<\/jats:p>","DOI":"10.22501\/jss.2796403","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T07:10:09Z","timestamp":1743664209000},"source":"Crossref","is-referenced-by-count":0,"title":["Warbound: Collective Audio Streaming from Ukraine"],"prefix":"10.22501","author":[{"family":"Olya Zikrata","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2025,4,4]],"date-time":"2025-04-04T12:15:10Z","timestamp":1743768910000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2796403\/3532434"}},"issued":{"date-parts":[[2025,4,4]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jss.2796403","published":{"date-parts":[[2025,4,4]]}},{"indexed":{"date-parts":[[2024,12,17]],"date-time":"2024-12-17T05:13:48Z","timestamp":1734412428805,"version":"3.30.2"},"posted":{"date-parts":[[2024,12,16]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"How to Get Rid of Loneliness\" refers to a video artwork by Darja Popolitova featured in the Magical Hotspot exhibition at Vent Space Gallery in 2020. In the video, the jewellery witch Seraphita performs a ritual using the Seastone Necklace, a natural stone with a hole worn as a pendant. She taps its surface with her long nails, whispering affirmations as if typing messages on a phone screen. The necklace becomes a ritualistic tool for dispelling loneliness, symbolising a bridge between isolation and connection.<\/jats:p>","DOI":"10.22501\/rc.3293528","type":"posted-content","created":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T16:03:06Z","timestamp":1734364986000},"source":"Crossref","is-referenced-by-count":0,"title":["How to Get Rid of Loneliness"],"prefix":"10.22501","author":[{"family":"Jewellery witch Seraphita","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T16:03:06Z","timestamp":1734364986000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3293528\/3293529"}},"issued":{"date-parts":[[2024,12,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3293528","published":{"date-parts":[[2024,12,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T18:10:15Z","timestamp":1732644615797,"version":"3.28.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,5,21]]},"abstract":"This research investigates the inquiry: how is embodiment illuminated by a relationship with the land, earth, and plants, specifically in the context of an urban allotment gardening practice? It reveals the act of writing from the body, the relationship between a movement practice and gardening, the ancient ritual of growing and nurturing plants, and notions of gardening as a somatic practice.\nThe research project was carried out over the space of a year, from 2019-2020, and in this exposition the activities and interventions that were carried out during part I of the research are revealed.\nThe work shared here is part of an on-going long-term project instigated in 2017 \u2018And so we Sow\u2019 which looks at the relationship between dance and gardening.<\/jats:p>","DOI":"10.22501\/ruu.785639","type":"journal-article","created":{"date-parts":[[2021,5,21]],"date-time":"2021-05-21T15:34:12Z","timestamp":1621611252000},"source":"Crossref","is-referenced-by-count":0,"title":["We Reap What We Sow, embodiment and urban allotment gardening. Part 1: autumn- late winter, October- January."],"prefix":"10.22501","author":[{"family":"Polly Hudson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:47:47Z","timestamp":1732643267000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/785639\/785640"}},"issued":{"date-parts":[[2021,5,21]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/ruu.785639","published":{"date-parts":[[2021,5,21]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:03Z","timestamp":1733202783760,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,10]]},"abstract":"Singing, chanting and the identification of some genres of music with particular clubs is an essential part of football culture. Stadium atmosphere is created through a combination of elements \u2013 smoke bombs, crowd densities, lighting, banners, and shouting \u2013 but the most intense and focused manner is through the rehearsed and conducted chanting. The range, originality, and loudness of chanting is the lure for fan groups, and an essential element of ultra fandom (Doidge and Lieser 2013; Kyt\u00f6 2011). The Pasoepati supporter group of Solo, for example, draws on a range of musical styles and supporter chants to create its own soundscape in which their support for Persis Solo is articulated. During Persis Solo games, the Manahan Stadium becomes a site in which a Persis Solo-Pasoepati soundscape is created; rival clubs, such as Persebaya and PSIM, and their respective fan groups, also articulate their own soundscapes. The chanting is a part of global football culture and mediated through local cultural practices and values. This paper explores the sonic rituals \u2013chanting and singing \u2013 that create a sense of community, based around a football team and city.<\/jats:p>","DOI":"10.22501\/jss.286556","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:59Z","timestamp":1733149619000},"source":"Crossref","is-referenced-by-count":0,"title":["Football Soundscapes of Java"],"prefix":"10.22501","author":[{"family":"Andy Fuller","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:59Z","timestamp":1733149619000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/286556\/286557"}},"issued":{"date-parts":[[2016,7,10]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.286556","published":{"date-parts":[[2016,7,10]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:09Z","timestamp":1733202789482,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,5,8]]},"abstract":"This paper situates the work of installation artist Bartholom\u00e4us Traubeck at the crossroads of sonic materialism (Cox 2011) and recent debates among new media theorists concerned with the nature of mediation (Kember and Zylinska 2012; Grusin 2015). Picking up on what Richard Grusin has called \u201cradical mediation,\" I examine how expanded theories of mediation jeopardize medium specificity, and I do so within an exhibition of Traubeck's works. The latter carefully constructs assemblages out of easily identifiable objects. But once turned on, these installations produce ambient soundscapes that quickly blur the borders between their constituent elements. Their processes slip by auditory perception, generating slippages between media devices along the way. However, these instances of ambience do not elide the necessity for returning to the devices undergirding them, a move Traubeck's pieces constantly encourage. Insisting on the importance this return, and in a corrective to radical mediation, I look simultaneously to neurophysical accounts of auditory perception and F\u00e9lix Guattari's Chaosmosis (1995) to place sonic media alongside the latter's axiological appraisals.<\/jats:p>","DOI":"10.22501\/jss.380109","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:24Z","timestamp":1733149644000},"source":"Crossref","is-referenced-by-count":0,"title":["Fugue States"],"prefix":"10.22501","author":[{"family":"Tyler Shoemaker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:25Z","timestamp":1733149645000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/380109\/380110"}},"issued":{"date-parts":[[2018,5,8]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/jss.380109","published":{"date-parts":[[2018,5,8]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:08Z","timestamp":1733202788500,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,5,2]]},"abstract":"!Make Some Domestic Noise! was a series of collective online performances that took place during the first COVID-19 lockdown. They featured what might be described as an online domestic noise big band. As everyone was isolated at home, the \u220f Node collective launched the Antivirus program to train people on how to join and contribute their own stream and sounds.\nBeing alone at home can be stressful, but it can also reveal the beauty of everyday noises.\nOn a weekly basis, people were invited by email to participate by playing with the noises of their domestic appliances and live stream the results. These separate audio streams were then mixed in real time and sent to the main output stream. This was enabled by the \u220f Node site structure, which provides a volume control for every active stream. The website also has an Internet Relay Chat through which participants can, and did, directly interact.<\/jats:p>","DOI":"10.22501\/jss.1233710","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:11Z","timestamp":1733149511000},"source":"Crossref","is-referenced-by-count":0,"title":["ANTIVIRUS !Make some domestic noise! on \u220f Node Part II"],"prefix":"10.22501","author":[{"family":"Sarah Brown and Valentina Vuksic","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Valentina Vuksic","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:12Z","timestamp":1733149512000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1233710\/1233711"}},"issued":{"date-parts":[[2021,5,2]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jss.1233710","published":{"date-parts":[[2021,5,2]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:14Z","timestamp":1733202794247,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,1,17]]},"abstract":"The fundamental innovations in modern German verse around 1900 can be ascribed to the emergence of technological media rather than to a deliberate departure from metrical tradition. In 1879, Friedrich Nietzsche had already approached a new style of writing that emulated the performance of oral speech and its singular visual and acoustic phenomena that had become recordable with photography and, as of 1877, with the Edison phonograph. In this article I will focus on the \u201cphonographic\u201d writing techniques of the German naturalist-poet Arno Holz that take the insurmountable difference between the medium of writing and the singular acoustic happening as their precondition. A technique that can be called \u201cacoustic evidence,\u201d employed in Holz\u2019s cycle of poems *Phantasus* (1898ff.), indicates sounds not through writing traditional musical notation or alphabetic letters, but rather by crossing out writing. In this way, Holz\u2019s verses indirectly reference the new \u201corchestra of life\u201d that Edison\u2019s phonograph had brought into the discourse.<\/jats:p>","DOI":"10.22501\/jss.322719","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:34Z","timestamp":1733149654000},"source":"Crossref","is-referenced-by-count":0,"title":["Phonograph, symbolic. Acoustic Evidence in Arno Holz\u2019 Phantasus"],"prefix":"10.22501","author":[{"family":"Thomas Forrer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:34Z","timestamp":1733149654000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/322719\/322720"}},"issued":{"date-parts":[[2017,1,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/jss.322719","published":{"date-parts":[[2017,1,17]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:30Z","timestamp":1733202750923,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,3,19]]},"abstract":"As a moving and expanding terrain, sound art in South America is a research, application and sharing environment for a work developed by at least three decades of artists who have experimented with methods and processes in which sound intersects with digital technologies and with unconventional approaches to listening. The text presented here focuses specifically on two works produced within this extended context of practices, which offer many types of sound narration in which different elements emerge connected to the complexity of the levels of listening, even political in the South: Temporal de Santa Rosa by Brian Mackern, a recording and installation project that reinterprets popular, religious and traditional elements in a post-digital key and Antartica 1961-1996, an installation by Alejandra P\u00e9rez N\u00fa\u00f1ez that investigates the imperceptibility of the political processes of appropriation of the Antarctic territory in recent decades by part of nation states.<\/jats:p>","DOI":"10.22501\/jss.823463","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:20Z","timestamp":1733149580000},"source":"Crossref","is-referenced-by-count":0,"title":["Navegando hacia un sur sonoro: Two Sound Stories From South America"],"prefix":"10.22501","author":[{"family":"Leandro Pisano","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:20Z","timestamp":1733149580000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/823463\/823464"}},"issued":{"date-parts":[[2020,3,19]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/jss.823463","published":{"date-parts":[[2020,3,19]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:01Z","timestamp":1727194201523},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"The abstract for this exposition is unfortunately missing.<\/jats:p>","DOI":"10.22501\/koncon.317171","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:44:16Z","timestamp":1725921856000},"source":"Crossref","is-referenced-by-count":0,"title":["The Accompaniment for the Villancico in New Spain"],"prefix":"10.22501","author":[{"family":"Miguel Espinoza Chavez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:31Z","timestamp":1727193451000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/317171\/317172"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.317171","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202009},"posted":{"date-parts":[[2022,1,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Green Thing - double forever - VIS draft exposition \n\nGreen Thing is an ongoing collaborative art work, a negotiated creative exchange, between 2 artists, who are also daughter and father; actively engaging in a dialogue about Green Things. \u2018Greeness\u2019 is explored in relation to how this manifests and develops symbolically, physically, historically, and within each of our practices. Creating, documenting, performing and sharing exploratory processes: collaboratively producing an evolving, palimpsestic work.\n \nWe recently completed a remote, online iteration of this project, Green Thing pt.2 [Green thing pt. 1 was undertaken in March 2020 in the Pipe Factory, Glasgow] while in residence at 2\/42 Studios, in the Pipe Factory, Glasgow as part of their Remote Series: work accumulated daily over the span of one week, created by both Higgins\u2019 (Glasgow and Sheffield), in tandem, but apart, which culminated on Thurs 16th at 19.30-20.30PM (UK) with a live online screening and conversation. We Green Thing pt.3 - double forever - will be extracting conversations, dialogues, and forms to mould a further iteration. \n\nGreen becomes contagious in this way. The work multiplies, fluctuates, is transmitted between one another, released upon the public. It mutates and it passes back between us, it divides and multiplies. After the last iteration, we couldn\u2019t stop seeing Green. \n\nIt is palimpsestically created, not only because we write over one another, talk over one another, and create together and in relay, but because we are palimpsestic. Our relationship by its very nature means that, whilst we have many different lived experiences, it is essentially shared. We literally share blood and guts. This genetic presupposition results in eerie, unspoken tangents and patterns. It also proves great distinctions. \n\nFurther from Green thing pt.2, - double forever - will more directly bring together themes around Green, Space, Bile, and Solidarity, to reflect the cyclical interrelational relationship each of these areas have with one another. Right now, green space looks and feels very different than it used to, bile is seen in a heightened state, and solidarity is more important than ever - but we cannot translate these things as we would instinctively; humans have to interact differently. The Greeness within this is rife and key to understanding the progression of psychological, geographical shifts in society as we see it. \n\nGreen Thing pt.3 - double forever - whilst explorative in its very essence, feels a formalisation of this palimpsest, although still created in perpetual transmission utilised and exploited through the research catalogue as a framework for it\u2019s latest form\u2026.A dialogue produced between us through various online platforms - remotely.realised etc \u2026.is the world we are in, \u2026\u2026..to be formed through and in the RC<\/jats:p>","DOI":"10.22501\/rc.1042032","type":"posted-content","created":{"date-parts":[[2022,1,9]],"date-time":"2022-01-09T15:31:50Z","timestamp":1641742310000},"source":"Crossref","is-referenced-by-count":0,"title":["Green thing - part 3"],"prefix":"10.22501","author":[{"family":"d+g","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:04Z","timestamp":1727192704000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1042032\/1042033"}},"issued":{"date-parts":[[2022,1,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1042032","published":{"date-parts":[[2022,1,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:16Z","timestamp":1727238736883},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Diagrammatic Praxis was a post-doctoral research process drawing upon applied concepts of the diagram previously explored in my dissertation, \u2018The Translocal Event and the Polyrhythmic Diagram.\u2019 As a researcher in the Art, Research, Theory and Innovation (ARTI) lectoraat of the Amsterdam School for the Arts, the primary focus was on image\/text relationality as a vehicle for investigating applied theoretical practice in artistic processes. I worked with Foucault\u2019s concept of the diagram, rejuvenated by Deleuze as abstract machine and Massumi\u2019s concept of the biogram. Thinking the diagram entails negotiating several registers of relations between forces immanent to a field of experience. A diagrammatic practice emphasizes movement with and through the dynamic intensities of an inter-disciplinary field, instantiating the commingled performativity of theory and artmaking through fielding. It experientially engages energetic transductions between unformed matter and unformalised function, between the discursive and the non-discursive, the visible and articulable, content and expression, chaos and order, catastrophe and rhythm. The research aims to contribute to emerging discourse on artistic research as experimental methods of reading and writing are interwoven with artmaking processes.\nAdditionally, the current wave of discourse on vibrant materiality, object ontologies and thing theory resonate with collaborative, diagrammatic methods. Diagrammatic praxis is situated within interdisciplinary investigations of the collaborative dynamics of mattering. How, as Bruno Latour has pointed out, matters of fact emanate as matters of concern. How objects, things, performers and publics might generate the felt concerns of the event. This proposition of gathering, through an intricate mesh of mattering inclusive of things at all scales of experience, from quarks to cosmos, from facts to fictions excites what matters as the experience of the relational dynamics of the event and its emerging concerns. \nThe material presented in JAR is a compilation of a fraction of the image and text elements from a three-year process, shaped as a graphic essay. Works include graphic translations, works on paper and published texts created from an integral diagrammatic method.<\/jats:p>","DOI":"10.22501\/jar.10002","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T22:37:12Z","timestamp":1497998232000},"source":"Crossref","is-referenced-by-count":0,"title":["Diagrammatic Praxis"],"prefix":"10.22501","author":[{"family":"Sher Doruff","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:31Z","timestamp":1727193271000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/10002\/10003"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.10002","published":{"date-parts":[[2011,11,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:17Z","timestamp":1727238737123},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,1,8]]},"abstract":"This research is an exploration into stimulating autonomy and active learning in musical tuition. Through an explorative journey in my teaching practice I developed tools to increase autonomy, active learning and self-regulation in students, using the self-determination theory, new learning and self-regulation as the main learning theories to find answers to my research question. In my lesson practice students rarely come in as active-, self-directing autonomous learners. However, literature and experiences of other teachers, show us that students \u2013 even beginners \u2013 can learn to become active, self-directed learners. It is not common practice yet to implement these theories in music classes. This is why I would like to create a toolkit and a user manual for teachers that would like to incorporate autonomy supportive teaching and self-regulation in their practices. I will also create a blueprint to inspire working with blended programs in music classes. A flipped classroom can trigger an ongoing learning process in the week, it can aid students in their practice and it is a tool to reflect on teaching practices, teaching styles and programs. \nThe research took place in the BASIS oboe classes at the School for Young Talent, in The Royal Conservatoire of The Hague. There were 5 beginning oboe players, in the age group of 7 till 13 years. \nI used a combination of design and action research. With the design research I developed the online learning space and the tools for active learning and self-regulation. With action research I reflected on my teaching, students learning, development and well-being and the use of the tools. \nIt was possible to use learning theories in different ways. I used tables and frameworks to reflect on my teaching, I used existing tools, I tailored tools to the age group of my students and I combined aspects of active learning and self-regulation. After three design cycles there is a blueprint of a toolkit that can be used in a flexible way and there is a blueprint for blended learning in instrumental music classes. The changes in my teaching style, the implementation of the learning theories and the reflections on the program using the online environment had a great impact on the teacher \u2013 student dialogue, the content of my lessons and the overview of the program. In students I saw an increase in motivation, autonomy and effectiveness. They are very engaged young learners, they learned to choose repertoire and strategies in their practice, they are able to plan, practice and reflect on their process and they have covered more repertoire and technique over the last year in comparison to the year before. They started sharing their music outside of classes and started thinking about their own goals in their oboe practice.<\/jats:p>","DOI":"10.22501\/koncon.1304958","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:53Z","timestamp":1725921473000},"source":"Crossref","is-referenced-by-count":0,"title":["How can autonomy and active learning be stimulated in a blended oboe class program?"],"prefix":"10.22501","author":[{"family":"Irma Kort","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:47Z","timestamp":1727193347000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1304958\/1304727"}},"issued":{"date-parts":[[2023,1,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1304958","published":{"date-parts":[[2023,1,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738485},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,3,8]]},"abstract":"Tutkimusekspositioni keski\u00f6ss\u00e4 ovat pohjoisen jokialueilla toimivan aktivistiryhm\u00e4n voimalaitoksen betonisiin ja alumiinisiin seiniin vuosina 2019\u20132020 maalamat, joen valjastamista kritikoivat kirjoitukset ja kuvat sek\u00e4 erityisesti niiden poistamiseen liittyv\u00e4 prosessi. Maalausten \u2013 erityisesti niiden j\u00e4tt\u00e4mien tahrojen ja poistoj\u00e4lkien \u2013 pohjalta rakentamissani valokuva- ja videoteoksissa vuorottelevat melu ja merkityksist\u00e4 tihe\u00e4 hiljaisuus. Voimalaitosmilj\u00f6\u00f6seen tehdyt maalaukset kehottavat ja vaativat, kamppailevat alisteisten tai marginaaliin j\u00e4\u00e4vien ryhmien, luonnonsuojelijoiden ja kala-aktivistien rinnalla pohjoisen jokien k\u00e4ytt\u00f6tarkoituksista ja luontoarvoista. Maalausten signaali asettuu poikkiteloin hallitsevien s\u00e4\u00e4nt\u00f6jen, energiayhti\u00f6iden intressien ja yhteiskunnallisten j\u00e4rjestysten kanssa. My\u00f6s valokuva- ja videoteokseni kantavat mukanaan kamppailuja \u2013 ironisia kannanottoja ja merkitsevi\u00e4 muotoja siit\u00e4 materiaalisesta semiosiksesta, jossa kuvat ja kirjoitukset muokkaantuvat kerroksiksi, pinnoiksi, umpeen maalatuiksi ja poispestyiksi, hauraiksi ja huokoisiksi vastarinnan signaaleiksi. \n\nValokuvateokseni (Virtaavaa 2020; Sulava maali 1-8 2020; (Ep\u00e4onnistunut)) Lohitapetti 2020) ovat merkitsev\u00e4n muodon n\u00e4kemist\u00e4 siin\u00e4, miss\u00e4 toinen n\u00e4kee t\u00f6hryn, lian tai sotkun. Videoteokseni (Siivousp\u00e4iv\u00e4 1\u20133, 2020) ovat saaneet inspiraationsa jokiaktivisteille annetusta kehotuksesta siivota j\u00e4lkens\u00e4. Siivoaminen \u2013 kuten my\u00f6s taideaktivismin harjoittelu \u2013 on videoteoksissani osa performatiivista prosessia, jossa sitoudun kulttuurisiin toistok\u00e4yt\u00e4nteisiin, kuten \u201doikein\u201d tekemiseen, mutta jossa j\u00e4\u00e4 tilaa my\u00f6s toistok\u00e4yt\u00e4nteiden ironiselle haltuunotolle, leikille ja liioittelulle. \n\nLuonnonymp\u00e4rist\u00f6, valjastettu joki, on t\u00e4ynn\u00e4 ristiriitaisia merkityksi\u00e4: hiljaisuutta ja melua, ihmisen rakentamaa infrastruktuuria ja \u201dkoskematonta\u201d luontoa. Betoniin maalatut kirjoitukset ja kuvat ovat nekin konfliktisia \u2013 huokoisia ja hauraita, metel\u00f6ivi\u00e4, hiljaisia. Hiljainen vastarinta ei kuitenkaan taivu kahtiajakoihin, aivan kuten ymp\u00e4r\u00f6iv\u00e4 pohjoinen luontokaan ei n\u00e4ytt\u00e4ydy vastakohtaisuuksina. Kuten Veli-Pekka Lehtola ja Outi Autti (2019) kirjoittavat, hiljaisen vastarinnan tekojen motiivit vaihtelevat. Paikoin vastarinta j\u00e4\u00e4 pimentoon, ja aika ajoin sen signaalit on m\u00e4\u00e4r\u00e4 tulla kuulluiksi ja n\u00e4hdyiksi.<\/jats:p>","DOI":"10.22501\/ruu.941545","type":"journal-article","created":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T13:56:35Z","timestamp":1615211795000},"source":"Crossref","is-referenced-by-count":0,"title":["Kotini joki \u2013 Betoniin piirtyv\u00e4 hiljainen vastarinta ja vastarinnan performatiiviset ulottuvuudet"],"prefix":"10.22501","author":[{"family":"Mari M\u00e4kiranta","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:51Z","timestamp":1727193591000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/941545\/941546\/0\/4628"}},"issued":{"date-parts":[[2021,3,8]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/ruu.941545","published":{"date-parts":[[2021,3,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:26Z","timestamp":1727238746978},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,10,19]]},"abstract":"What is the nature of human touch and human contact in contemporary music performance, both in general and in the context of the COVID-19 pandemic? In a time when bodies must be kept at several meters distance, what comes of works which explicitly call for closeness, physical contact, and sharing? How might these works be interpreted differently in light of the COVID-19 pandemic? Percussionist and performer Jennifer Torrence reflects on the impact of the pandemic on her artistic practice and on her research as part of the project entitled Performing Precarity, which seeks to explore the inherent risks in performance when musicians and audiences are entangled in codependent structures. In light of COVID-19, this exposition attempts to unfold and trace modes of vulnerability in contemporary music performance\u2014from human contact via eye contact and physical touch, to the precarious negotiation of shared space\u2014and to reflect on how such encounters might breed new understandings and knowledge.<\/jats:p>","DOI":"10.22501\/vis.1040522","type":"journal-article","created":{"date-parts":[[2021,10,19]],"date-time":"2021-10-19T09:12:04Z","timestamp":1634634724000},"source":"Crossref","is-referenced-by-count":0,"title":["Soft to the Touch: Performance, Vulnerability, and Entanglement in the Time of Covid"],"prefix":"10.22501","author":[{"family":"Jennifer Torrence","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:02Z","timestamp":1727194142000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1040522\/1040523"}},"issued":{"date-parts":[[2021,10,19]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/vis.1040522","published":{"date-parts":[[2021,10,19]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:27Z","timestamp":1727238747441},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,6,20]]},"abstract":"\u00abTradisjoner p\u00e5 spill, fortolkning og ut\u00f8ving mellom sl\u00e5tter og pianisme\u00bb, er et kunstnerisk utviklingsarbeid gjort av pianist Ingfrid Breie Nyhus. Hun er en ut\u00f8ver som st\u00e5r mellom to ut\u00f8vertradisjoner; klassisk fortolkning og norsk folkemusikktradering. I dette stipendiatprosjektet har hun unders\u00f8kt musikalske muligheter i spenningsfeltet mellom kunstmusikk og folkemusikk, sett p\u00e5 likheter og ulikheter ved tradisjonene, og latt dem flettes sammen i sitt spill. Tilsvarende har hun unders\u00f8kt musikalske muligheter i dette spenningsfeltet, i samarbeid med et utvalg samtidskomponister om nye klaververker inspirert av norsk folkemusikk.<\/jats:p>","DOI":"10.22501\/nmh-ar.385124","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T11:18:56Z","timestamp":1618312736000},"source":"Crossref","is-referenced-by-count":0,"title":["Tradisjoner p\u00e5 spill - Refleksjon"],"prefix":"10.22501","author":[{"family":"Ingfrid Breie Nyhus","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:34Z","timestamp":1727194114000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/385124\/385125"}},"issued":{"date-parts":[[2019,6,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.385124","published":{"date-parts":[[2019,6,20]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:29Z","timestamp":1727238749378},"posted":{"date-parts":[[2023,6,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this essay I describe one example of working with a tree (an ash tree on the former post quay on Ecker\u00f6 Island) and suggest that such artistic methods, like performing with a tree repeatedly or addressing a tree in writing as a performance for camera, serve as useful tools to generate material to reflect upon later. The heightened perceptual awareness and the intensity of the moment of performance helps in articulating observations and ideas that might not have come to the fore in other circumstances.<\/jats:p>","DOI":"10.22501\/hub.2137521","type":"posted-content","created":{"date-parts":[[2023,6,21]],"date-time":"2023-06-21T14:54:42Z","timestamp":1687359282000},"source":"Crossref","is-referenced-by-count":0,"title":["Explorations with an Ash Tree"],"prefix":"10.22501","author":[{"family":"Annette Arlander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:28Z","timestamp":1727194168000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2137521\/2137522"}},"issued":{"date-parts":[[2023,6,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/hub.2137521","published":{"date-parts":[[2023,6,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:54Z","timestamp":1727238714237},"posted":{"date-parts":[[2023,12,15]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The pandemic is not one coherent narrative but an unbounded multiplicity of narrative ravellings. One theme that can be traced through the course of the past two years is the undoings and redoings of normalcy, including normalcy in qualitative research. Our digital literacy research group took up the pandemic as a canvas upon which to story new futurities and possibilities for qualitative research in physical separation within the context of slow-moving upheaval. At the outset of the first physical lockdown in March of 2020, we began a collaborative and multimodal futures fictioning practice, storying new communicative possibilities and potentialities. Over the course of fourteen months, we reached into each other\u2019s imagination, isolation, temporality, and physical environment via story and sound. This exposition charts our diffractive fictioning methodology, in which we collectively map communicative practices and collaborative meaning in virtual spaces in a time when coherence and consensus have become radically fractured. A cyborg skunk moves through this assemblage of poetry, sonification, narrative, performance, theory, and silence, flicking its many imagined tales and nudging its noses at the wreckage of the normal in search of difference.<\/jats:p>","DOI":"10.22501\/rc.1313947","type":"posted-content","created":{"date-parts":[[2023,12,15]],"date-time":"2023-12-15T19:06:37Z","timestamp":1702667197000},"source":"Crossref","is-referenced-by-count":0,"title":["Sounding the futures imaginary: A collaborative intra-modal storying methodology"],"prefix":"10.22501","author":[{"family":"Rachel Horst","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Esteban Morales","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Effiam Yung","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Kedrick James","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Yuya Takeda","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:54Z","timestamp":1727192514000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1313947\/1313948"}},"issued":{"date-parts":[[2023,12,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1313947","published":{"date-parts":[[2023,12,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:56Z","timestamp":1727238716922},"posted":{"date-parts":[[2023,6,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Clyde Stubblefield<\/jats:p>","DOI":"10.22501\/rc.2211330","type":"posted-content","created":{"date-parts":[[2023,6,20]],"date-time":"2023-06-20T20:05:14Z","timestamp":1687291514000},"source":"Crossref","is-referenced-by-count":0,"title":["Clyde Stubblefield's Influence on Hip Hop"],"prefix":"10.22501","author":[{"family":"Theo Veitch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:46Z","timestamp":1727192566000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2211330\/2211329"}},"issued":{"date-parts":[[2023,6,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2211330","published":{"date-parts":[[2023,6,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:02Z","timestamp":1727238722185},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time. \n\nIndividual micro-curated expositions are linked together for www.covidglossary.net in order to generate non-linear readings of the pandemic.<\/jats:p>","DOI":"10.22501\/rc.1289842","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T07:59:11Z","timestamp":1622707151000},"source":"Crossref","is-referenced-by-count":0,"title":["NEW PRACTICES- RATIONING- ARCHIVING- STORING- RECORDING"],"prefix":"10.22501","author":[{"family":"moomal shekhawat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Vastavikta Bhagat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:44Z","timestamp":1727192744000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1289842\/1289843"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1289842","published":{"date-parts":[[2021,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:06Z","timestamp":1727238726518},"posted":{"date-parts":[[2016,1,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"this is simply some test<\/jats:p>","DOI":"10.22501\/rc.241500","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:32Z","timestamp":1498067612000},"source":"Crossref","is-referenced-by-count":0,"title":["some test exp"],"prefix":"10.22501","author":[{"family":"Test Author 3","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:52Z","timestamp":1727192992000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/241500\/241501"}},"issued":{"date-parts":[[2016,1,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.241500","published":{"date-parts":[[2016,1,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:49Z","timestamp":1727238649661},"posted":{"date-parts":[[2021,9,10]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition concerns how aspects of perception, mainly visual but not excluding other senses, are encoded within the artist\u2019s drawing-based practice. Such coding is increased due to the artist's use of speech and its recording to eventually produce textual transcripts, and video evidence of the process of drawing while drawing. More inclusively stated, the artist\u2019s practice oscillates between visual and linguistic means, and analogue and digital methods. As research, the exposition questions where and how coding is implicit in the artist\u2019s perception during his approach to his work. Such questioning is enabled by a split between the artist in his reflexive involvement presented as speech transcripts and supporting screenshots from the video recording, and his reflective observation on the content of the transcript as if made by another-person interlocutor. The exposition is presented as a textual introduction and conclusion, between which is access to the full audio-visual recording of the drawing process and a flip-book presentation of the transcript and interlocutor interventions. The exposition's main image is the artist's finished drawing.<\/jats:p>","DOI":"10.22501\/i2ads.1306314","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:22Z","timestamp":1727194162000},"source":"Crossref","is-referenced-by-count":0,"title":["Coded Perception: 'Out of the Corner of One's Eye'"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:22Z","timestamp":1727194162000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1306314\/1306315"}},"issued":{"date-parts":[[2021,9,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.1306314","published":{"date-parts":[[2021,9,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:01Z","timestamp":1727238661755},"posted":{"date-parts":[[2024,2,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Summary of group discussions on methods and places<\/jats:p>","DOI":"10.22501\/rc.2444473","type":"posted-content","created":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T18:59:56Z","timestamp":1708628396000},"source":"Crossref","is-referenced-by-count":0,"title":["Group discussions on methods and places, 2020"],"prefix":"10.22501","author":[{"family":"Natasha Barrett","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:34Z","timestamp":1727192494000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2444473\/2444474"}},"issued":{"date-parts":[[2024,2,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2444473","published":{"date-parts":[[2024,2,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:03Z","timestamp":1727238663114},"posted":{"date-parts":[[2023,1,16]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is the web-based written component of an arts practice research project carried out from May to August of 2022 as part of the MA Irish Music Studies programme at the Irish World Academy of Music and Dance (IWAMD) at the University of Limerick. The project set out to explore the broad topic of creativity within Irish traditional music through the embodied means of my own bodhr\u00e1n playing. In particular, I set out to see to what extent the creative process of switching between ways of gripping the bodhr\u00e1n stick (\u201cgrip switching\u201d) could be embodied effectively in my bodhr\u00e1n playing. As well as this written component, which contains multimedia elements such as video and music notation, this project is also presented as a thirty minute performance of traditional Irish music where I accompany an accordion player to demonstrate and explain some of the findings of my research.<\/jats:p>","DOI":"10.22501\/rc.1686682","type":"posted-content","created":{"date-parts":[[2023,1,16]],"date-time":"2023-01-16T11:33:42Z","timestamp":1673868822000},"source":"Crossref","is-referenced-by-count":0,"title":["Creative Processes in Irish traditional music: a bodhr\u00e1n-playing perspective"],"prefix":"10.22501","author":[{"family":"Robert Brian Sheehan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:43:44Z","timestamp":1727192624000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1686682\/1721714"}},"issued":{"date-parts":[[2023,1,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1686682","published":{"date-parts":[[2023,1,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:06Z","timestamp":1727238666019},"posted":{"date-parts":[[2022,9,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I shot the short film Landscapes early in 1997. Starting in 1996 and continuing into 1998 I took series of photographs with a similar method and aesthetic to the film. Both the film and the photographs, which are featured in this documentation, are based on walks through areas of central London.<\/jats:p>","DOI":"10.22501\/rc.1719785","type":"posted-content","created":{"date-parts":[[2022,9,10]],"date-time":"2022-09-10T23:46:21Z","timestamp":1662853581000},"source":"Crossref","is-referenced-by-count":0,"title":["London Series and Landscapes"],"prefix":"10.22501","author":[{"family":"Ed Crooks","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:13Z","timestamp":1727192653000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1719785\/1719786"}},"issued":{"date-parts":[[2022,9,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1719785","published":{"date-parts":[[2022,9,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:06Z","timestamp":1727238666660},"posted":{"date-parts":[[2022,5,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A participatory performance proposes intimate encounters with floral life forms. Potentially unexpected effects could be observed. Work in collaboration with The Hot Box.<\/jats:p>","DOI":"10.22501\/rc.1523025","type":"posted-content","created":{"date-parts":[[2022,2,10]],"date-time":"2022-02-10T12:50:36Z","timestamp":1644497436000},"source":"Crossref","is-referenced-by-count":0,"title":["Pikatreffit"],"prefix":"10.22501","author":[{"family":"Christina Stadlbauer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:37Z","timestamp":1727192677000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1523025\/1523026"}},"issued":{"date-parts":[[2022,5,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1523025","published":{"date-parts":[[2022,5,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667813},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nOn resillience and old age in the face of the pandemic.<\/jats:p>","DOI":"10.22501\/rc.1282767","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T11:55:54Z","timestamp":1622634954000},"source":"Crossref","is-referenced-by-count":0,"title":["Of moving ahead and moving on"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:36Z","timestamp":1727192796000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282767\/1282768"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1282767","published":{"date-parts":[[2021,6,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:09Z","timestamp":1727238669947},"posted":{"date-parts":[[2020,12,14]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"CPA - December 2020<\/jats:p>","DOI":"10.22501\/rc.1086639","type":"posted-content","created":{"date-parts":[[2020,12,14]],"date-time":"2020-12-14T10:19:02Z","timestamp":1607941142000},"source":"Crossref","is-referenced-by-count":0,"title":["Red heels"],"prefix":"10.22501","author":[{"family":"Milou van Vlijmen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:42Z","timestamp":1727192862000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1086639\/1086640"}},"issued":{"date-parts":[[2020,12,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1086639","published":{"date-parts":[[2020,12,14]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671278},"posted":{"date-parts":[[2017,1,10]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The recording \"V. (Bach)\" (\u00d8ra Fonogram, 2016) is the artistic outcome of my research project \"Transcribing Johann Sebastian Bach's Lute Music For Guitar Bouzouki\" (2015)[1]. I've slowly arrived at a personal way of playing this material, simplified to fit my small, four-course guitar, and I've tried to maintain a Nordic folk music approach throughout. Some music written for other instruments has been added as well. Consequently, the results deviate quite a bit from the direction of the process documented earlier, and things have kept changing even after the recording, which took place in August of 2016.\n \nThese sheets and tablatures correspond as closely as possible to the music on the record, which is accessible through the most common streaming and download services. The conventional sheet music attempts to show what my arrangements actually sound like, irrespective of instrument, but with significant visual simplifications that belie polyphonic richness; this particularly concerns the duration of bass notes, and individual voice-leading within the music. The ear will hopefully compensate for this when the music is sounded. The tablatures, on the other hand, start from my default tuning (bottom to top F - C - G - D), occasionally using a capo to alter the keys, which adhere to Bach's original ones (I use the capo to maintain access to open strings, an important feature in traditional fiddle music). If you play an instrument within the CBOM (Cittern-Bouzouki-Mandolin) family of plucked folk instruments, the tablatures can work with the fingerings represented here in whichever key you find suitable, or maybe you even have access to the tunings listed here on a different part of your instrument than I do - if, say, you play a five-course instrument.The important thing is to work in an essentially fifths-based tuning.\n \nSome of the movement titles are Norwegian-language approximations that are commonly in use among musicians in my part of the world.\n \n- - -\n \nArranged and performed by Andreas Aase\nProduced by Jo Ranheim and Andreas Aase\nMastered by Karl Klaseie\nAll work conducted at \u00d8ra Studio, Trondheim\nSupported by Nord Universitet, Levanger, Norway\n \n \n \n[1] https:\/\/www.researchcatalogue.net\/profile\/show-exposition?exposition=85891<\/jats:p>","DOI":"10.22501\/rc.304245","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:10Z","timestamp":1498067590000},"source":"Crossref","is-referenced-by-count":0,"title":["V. Bach - Sheets and tablatures"],"prefix":"10.22501","author":[{"family":"Andreas Aase","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:45Z","timestamp":1727192985000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/304245\/304246"}},"issued":{"date-parts":[[2017,1,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.304245","published":{"date-parts":[[2017,1,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:19Z","timestamp":1727238679932},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,11,2]]},"abstract":"Name: Anabela Marcos\n\nMain Subject: Singing\n\nResearch supervisors: Johannes Boer and Erwin Roebroeks\n\nTitle of Research: Monteverdi and the architecture of emotions\n\nResearch Question: In what way could the formal and the expressive elements in Monteverdi's music be related to painting and architecture of his contemporaries?\n\nSummary of results:\nIn the preface of his Eighth Book of Madrigals, Madrigali Guerrieri et Amorosi, Claudio Monteverdi announced one of the fundaments of his musical construction: the power of the contrasting passions. The humanist theme, that inspired not only musicians but also poets, painters and architects of the time, into a common goal; the expression of the human emotions.\nThe research \u201cArchitecture of emotions\u201d, is centred in Monteverdi\u2019s music in the period starting from his Lamento d\u2019 Arianna (1608) to the Lamento della Ninfa included in the Eight Book of Madrigals (1638) - the same time, thirty years, that it takes Francesco Borromini to finish the small church of San Carlo alle Quattro Fontane in Rome, in what will be his first (the interior) and his last commission (the fa\u00e7ade). \nInspired in this extraordinary building, which is both a guide and structure to the musical ideas presented, and supported by a selection of Caravaggio\u2019s paintings to be the visual counterpart to Monteverdi\u2019s music, this research aims to be a possible and personal interpretation to the vast question of the relation between music, painting and architecture in the context of the humanist environment in the transition from Renaissance to Baroque in Italy.\n \nBiography:\nAfter working as an architect for several years, the Portuguese Soprano Anabela Marcos, was granted a full scholarship from the Gulbenkian Foundation of Lisbon to study Singing and Opera at the Royal Conservatoire in the Hague, the Netherlands, with Rita Dams, Diane Forlano and Marius van Altena. \nHer opera repertoire includes Pamina (Die Zauberfl\u00f6te, Mozart), Suzanna (Le Nozze de Figaro, Mozart), Zerlina (Don Giovanni, Mozart), Titania (Midsummer Night\u2019s Dream, Britten), Clori (L\u2019Egisto, Cavalli), Venus and Cupid (King Arthur, Purcell), Daphne (Apollo and Daphne, H\u00e4ndel), Belinda (Dido and Aeneas, Purcell).\nAs a soloist, Anabela has worked with conductors such as Ton Koopman, Jos van Veldhoven, Sigiswald Kuyken, Michel Corboz and she is a member of the Baroque ensemble La Primavera. Among her future projects is the new program \u201cArchitecture of emotions\u201d, included in the 25th jubilee of this ensemble and based on her two year research around Monteverdi\u2019s music.<\/jats:p>","DOI":"10.22501\/koncon.301178","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:43:28Z","timestamp":1725921808000},"source":"Crossref","is-referenced-by-count":0,"title":["Monteverdi and the architecture of emotions"],"prefix":"10.22501","author":[{"family":"Anabela Marcos","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:19Z","timestamp":1727193439000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/301178\/464987"}},"issued":{"date-parts":[[2018,11,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.301178","published":{"date-parts":[[2018,11,2]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:20Z","timestamp":1727238680300},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2022,11,1]]},"abstract":"The exposition shares the collaborative multispecies journey and addresses the issue of art, art-based research and of art-based research publishing. The three processes are seeing as intra-activity between multiple species, materials, media. It does not have a goal as destination but is driven by curiosity and care for and with each other. This ever-expanding becoming creates ever new world and possibilities and so the new knowing-being. The exposition is a map that combines different tracing and it is up to the reader to follow any direction they prefer at the moment.<\/jats:p>","DOI":"10.22501\/ruu.1395390","type":"journal-article","created":{"date-parts":[[2022,10,25]],"date-time":"2022-10-25T13:24:47Z","timestamp":1666704287000},"source":"Crossref","is-referenced-by-count":1,"title":["Seeding Actions"],"prefix":"10.22501","author":[{"family":"Polina Golov\u00e1tina-Mora","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Tone Pernille \u00d8stern","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Sunniva Skj\u00f8stad Hovde","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:17Z","timestamp":1727193557000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1395390\/1719798"}},"issued":{"date-parts":[[2022,11,1]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1395390","published":{"date-parts":[[2022,11,1]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:02Z","timestamp":1727196002494},"posted":{"date-parts":[[2020,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Stacey Sacks is a PhD candidate in Performing Arts at Stockholm\u2019s University of the Arts. Her Doctoral Project *This Untethered Buffoon or the Trickster in Everything* takes form as a suite of hyper-disciplinary experiments with mask, clown, stop-motion animation, film, photography, sculpture, text, drawing and performance.\n\nDrawing on Gayatri Chakravorty Spivak\u2019s concept of \u2018critical intimacy\u2019 the performance-essay 'luxurious migrant' reflects on whiteness and privilege and the performance of it. As an intra-cultural, auto-ethnographic excavation it attempts and possibly fails to critically engage with notions of access, authority and power from within the cultural canon. As such it is a creative experimentation with theory and performance, an exploration of the improvisatory impulse and what it means to be \u2018on\u2019 the moment.\n\nSince clown naturally contains transgressive elements, the project explores how the genre can be used in a neo-colonial context to subvert or interrupt the dominant discourse, whether satire and parody function as activism and if it is in fact possible to push back white supremacy through critical engagement and play, starting with a robust self-critique.<\/jats:p>","DOI":"10.22501\/vis.394964","type":"posted-content","created":{"date-parts":[[2018,5,5]],"date-time":"2018-05-05T08:52:59Z","timestamp":1525510379000},"source":"Crossref","is-referenced-by-count":0,"title":["luxurious migrant \/\/ performing whiteness"],"prefix":"10.22501","author":[{"family":"Stacey Sacks","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:02Z","timestamp":1727194142000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/394964\/394965"}},"issued":{"date-parts":[[2020,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/vis.394964","published":{"date-parts":[[2020,10,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:23Z","timestamp":1727238623117},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nThe second wave of the pandemic resulted in the intense mobilization of resources by autonomous nimble networks formed by citizens. Strange friendships were mobilized or strangers came to help each other in the face of resource scarcity and systemic breakdown.<\/jats:p>","DOI":"10.22501\/rc.1287395","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T11:52:58Z","timestamp":1622634778000},"source":"Crossref","is-referenced-by-count":0,"title":["Citizen guides - Medical Resouces + Hospitals and Crematoriums + vaccinations"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:44Z","timestamp":1727192804000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1287395\/1287396"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1287395","published":{"date-parts":[[2021,6,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:23Z","timestamp":1727238623842},"posted":{"date-parts":[[2019,12,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition represents a collection of Saman Samadi's piano pieces for which he used an innovative microtonal pitch organization derived from Persian classical music. An album consisting of the recordings of these eleven pieces, performed by the composer, was published on digital music platforms on the 7th of January, 2015.<\/jats:p>","DOI":"10.22501\/rc.755313","type":"posted-content","created":{"date-parts":[[2019,12,11]],"date-time":"2019-12-11T06:24:07Z","timestamp":1576045447000},"source":"Crossref","is-referenced-by-count":0,"title":["Microtonal Piano Solos"],"prefix":"10.22501","author":[{"family":"Saman Samadi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:45Z","timestamp":1727192925000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/755313\/755314"}},"issued":{"date-parts":[[2019,12,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.755313","published":{"date-parts":[[2019,12,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:25Z","timestamp":1727238625469},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. \n\nWe draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.\n\nThe blurred idea of privacy, the idea of privacy, somehow got overlooked. With the space of time, the chaos of overlooked privacy arose, more than before.<\/jats:p>","DOI":"10.22501\/rc.1282782","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T11:54:45Z","timestamp":1622634885000},"source":"Crossref","is-referenced-by-count":0,"title":["Blurred idea of privacy"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:30Z","timestamp":1727192790000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282782\/1282783"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1282782","published":{"date-parts":[[2021,6,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:26Z","timestamp":1727238626152},"reference-count":0,"publisher":"Society for Artistic Research","issue":"26","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,5,26]]},"abstract":"Acoustemological Investigation: Sound Diary #Tehran is a research-based project that is being developed as part of my ongoing Ph.D. research. This is accomplished by employing sensory methodology as a research tool for observing and analysing architecture and urban design. Art and architecture have always seemed to me to have the potential for social change and the improvement of the existing social order. They can be emancipatory, assisting in self-development, promoting social justice, and even, in small ways, changing the world we live in. As a result, artists and architects engage in activities of innovation and creativity in the hope of articulating their dreams and building a better future for the benefit of their communities. The living environment and places where people spend their time tell a story about who they are and their vision of the future. Art and architecture are social practices that are inextricably linked to the rest of social life. In this regard, this exposition is an attempt to observe, study, and analyse the process of urbanisation in Iran, specifically the housing construction in the Pardis Phase 11 suburbs of Tehran.\nThe interest in the sensory dimension of Pardis Phase 11 serves as the starting point for this artistic practice-led research project. The project employs sensorial methodologies such as acoustemology to investigate the area and urban transformations caused by concepts such as \u2018modernisation\u2019, \u2018development\u2019, \u2018progress\u2019, and \u2018globalisation\u2019. The work evolves through a large collection of media content in the form of field recordings made at the Phase 11 site. The project\u2019s goal is to create a discursive sensory environment in order to generate a contemplative and in-depth reflection of a barren land transformed into an urban setting.<\/jats:p>","DOI":"10.22501\/jar.822215","type":"journal-article","created":{"date-parts":[[2022,5,26]],"date-time":"2022-05-26T20:56:41Z","timestamp":1653598601000},"source":"Crossref","is-referenced-by-count":0,"title":["Acoustemological Investigation: Sound Diary #Tehran"],"prefix":"10.22501","author":[{"family":"Ali Mousavi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:44Z","timestamp":1727193104000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/822215\/822216"}},"issued":{"date-parts":[[2022,5,26]]},"references-count":0,"journal-issue":{"issue":"26"},"URL":"https:\/\/doi.org\/10.22501\/jar.822215","published":{"date-parts":[[2022,5,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:26Z","timestamp":1727238626675},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,27]]},"abstract":"Within my practice as an artist that draws upon my professional experience as a fashion stylist, I have undertaken a broad range of practice-based projects in the last thirteen years that deal with the identity and dress. This exposition seeks to use Virginia Woolf\u2019s notion of frock consciousness as a framework to demonstrate how each of the projects has contributed to a body of research that has enabled me to make a contribution to knowledge in terms of how the practice of dressing ourselves impacts upon one\u2019s consciousness and experience of being in the world. Lisa Cohen in her essay \"Frock Consciousness\u201d: Virginia Woolf, the Open Secret, and the Language of Fashion (1999) reminds us that, whilst the idea of frock consciousness discussed by Woolf in her diary of 1925 might at first appear to be an oxymoron, one word concerned with coverings and the other a quality of mind, clothes \u201clie between what we understand to be public space (the social world at large), and what we consider private (the body of an individual)\u201d (150:1999).<\/jats:p>","DOI":"10.22501\/jar.590685","type":"journal-article","created":{"date-parts":[[2020,10,27]],"date-time":"2020-10-27T20:57:20Z","timestamp":1603832240000},"source":"Crossref","is-referenced-by-count":0,"title":["Interrogating the notion of 'frock consciousness' through the practice of dressing and responding to dressed bodies"],"prefix":"10.22501","author":[{"family":"Jennifer Anyan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:12Z","timestamp":1727193132000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/590685\/967683"}},"issued":{"date-parts":[[2020,10,27]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jar.590685","published":{"date-parts":[[2020,10,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:30Z","timestamp":1727238630894},"posted":{"date-parts":[[2013,6,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Trailing some issues with uploads and audio transcoding<\/jats:p>","DOI":"10.22501\/rc.26854","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:27Z","timestamp":1498067727000},"source":"Crossref","is-referenced-by-count":0,"title":["Testing audio uploads"],"prefix":"10.22501","author":[{"family":"Paul Draper","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:44Z","timestamp":1727193044000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/26854\/26855"}},"issued":{"date-parts":[[2013,6,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.26854","published":{"date-parts":[[2013,6,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:33Z","timestamp":1727238633186},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2018,9,28]]},"abstract":"\u201cResponsive Aesthetics: Remediating Digital-to-Analog Television Converters as Artist Tools\u201d documents the research process undertaken to explore the reanimation of a digital-to-analog television converter box as an artistic tool for intervention with the digital broadcast image through real-time datamoshing. We define datamoshing as an exploitation and interruption of the algorithms that comprise high quality digital streaming video, resulting in the visual distortion and alteration of the image. Our goal was to create a responsive datamoshing system that would not only modulate and distort the incoming broadcast image, but also provide artists with a level of control over these variations. We approached this process as artists, rather than technologists. Inspired by a specific visual or aesthetic result, we would reflect on how this result was achieved technically and then experiment with other methods that might offer further enhancement. The final result was the creation of a responsive datamoshing tool for use in exhibition or performance, both on its own or in combination with other systems (i.e., software, apps, image processing machines).<\/jats:p>","DOI":"10.22501\/jar.389260","type":"journal-article","created":{"date-parts":[[2018,9,28]],"date-time":"2018-09-28T09:39:25Z","timestamp":1538127565000},"source":"Crossref","is-referenced-by-count":0,"title":["Responsive Aesthetics: Remediating Digital-to-Analog Television Converters as Artist Tools"],"prefix":"10.22501","author":[{"family":"Eric Souther","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Laura McGough","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Jason Bernagozzi","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:44Z","timestamp":1727193164000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/389260\/389261"}},"issued":{"date-parts":[[2018,9,28]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/jar.389260","published":{"date-parts":[[2018,9,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:33Z","timestamp":1727238633489},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Andrea Vasi\nMain Subject: Piano\nResearch Coach: Theo Verbey\nTitle of Research: The influence of some characteristics of Romanian folk music on the Romanian Rhapsody no. 1 opus 11 by George Enescu \u2013 An arrangement for 2 pianos\nResearch Question:\nWhat is the nicest way to make an arrangement for 2 pianos of the first Romanian Rhapsody opus 11 no. 1 by George Enescu, and how has this piece been influenced by Romanian folk music?\nResearch Process:\nMy (Romanian) father, who is also a professional musician, helped me in the sense that he told me his views on what Romanian folk music was, which I took as a starting point. Throughout my childhood, I listened to Romanian folk music a lot (every week, we went to a caf\u00e9 in The Hague where Romanians would play their music), so I have quite much personal experience with it as well (I sometimes played along, and had my own \u2018gypsy\u2019 ensemble). Only one valuable book on Enescu has been published in the west, in 1990, namely \u2018George Enescu: His Life and Music\u2019 by N. Malcolm. A lot of biographical and musicological information on Enescu I could find in here, but I really needed my father to translate the Romanian sources I had collected. I had the chance to quote Enescu himself, because he did some extensive interviews with B. Gavoty. As for the arrangement, I am a pianist myself, and played and studied a lot two piano-pieces in the past. With the help of my coach, composer Theo Verbey, I made my own arrangement for two pianos of Enescu\u2019s Romanian Rhapsody no. 1 opus 11.\nSummary of Results:\nFirst of all, one can find the arrangement I made of the Romanian Rhapsody no. 1 opus 11 by George Enescu in the Appendix. I make clear how I made this arrangement for two pianos, and why I made it like this. The main goals were to keep the material as much intact as possible, but while doing this, I wanted to make sure both piano parts were very \u2018playable\u2019, very \u2018pianistic\u2019. Secondly, I wanted to know how this piece has been influenced by Romanian folk music. In order to be able to do this, I had to determine what \u2018Romanian folk music\u2019 actually is. So I tried to narrow it down to the most distinct and prominent characteristics. I did this in chapter three, in which I started by quoting Enescu himself on the subject. According to him, the music of his country is full of \u2018dor\u2019 (\u2018Sehnsucht\u2019), and there is \u2018sadness even in the midst of happiness\u2019. Shifting between major and minor also occurs frequently, I noticed. When I started analyzing songs I knew from my childhood, and started looking for characteristics on the internet, in chapter four, I deminstrated that there are some elements which appear in most of Romania\u2019s folk music, concerning instruments, scales and modes, meter and rhythm, ornamentation, \u2018doina\u2019 and gypsies.<\/jats:p>","DOI":"10.22501\/koncon.44582","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:49:34Z","timestamp":1725922174000},"source":"Crossref","is-referenced-by-count":0,"title":["The influence of some characteristics of Romanian folk music on the Romanian Rhapsody no. 1 opus 11 by George Enescu \u2013 An arrangement for 2 pianos"],"prefix":"10.22501","author":[{"family":"Andrea Vasi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:41Z","timestamp":1727193521000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/44582\/44583"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.44582","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2025,3,8]],"date-time":"2025-03-08T05:17:35Z","timestamp":1741411055999,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I doktorgradsprosjektet Jording med (bl\u00e5)leire har jeg jobba med kunstneriske prosesser og \u00f8velser som knytter oss tettere p\u00e5 bl\u00e5leira i landskapet. Gjennom seks \u00e5rs utdannelse innenfor det keramiske kunstfeltet og kunsth\u00e5ndverk2 ble vi aldri introdusert for leire ute i naturen som en del av undervisningen. Vi l\u00e6rte \u00e5 lage forskjellige leirer ved hjelp av r\u00e5stoffer som kaolin, kvarts, pipeleire og chamotte fra innkj\u00f8pt pulver i sekker blandet med vann, men var aldri ute og gravde leire og prosesserte denne selv. Vi jobbet med importerte leirer der sintringsintervall, grovhetsgrad, farge etter brenning og krymp-prosent var printet p\u00e5 plastpakningen. Leirene var homogene og klare til \u00e5 modellere med, og man kunne stole p\u00e5 at den alltid var lik fra pakke til pakke. Keramikk- og kunstfeltets gjengse oppfattelse av leire som et stabilt universelt materiale, som er relativt lik uansett hvor man kj\u00f8per den fra, blir i dette prosjektet satt i kontrast til det spesifikke og skiftende i landskapet, leira og menneskene involvert. Denne situerte kunnskapsproduksjonen i det kunstneriske doktorgradsprosjektet er et av de potensielle bidragene til fagfeltet.<\/jats:p>\n keywords: bl\u00e5leire, murstein, tegl, kunstnerisk forskning, 3D scanning, 3D printing, clay, brick, blueclay, artistic resaerch, brick industry, teglindustri, teglhistorie, brick history, leire, brunleire, stedspesifikk kunst, hendelsesbasert kunst, deltagende kunst, kunsth\u00e5ndverk, keramisk kunst, kunst, leirevandringer, leirevandring, alnaelva, bryn, oslo, oslo national academy of art, kunsth\u00f8gskolen i oslo, leirekunst, jording<\/jats:p>","DOI":"10.22501\/rc.2947857","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:07:11Z","timestamp":1741331231000},"source":"Crossref","is-referenced-by-count":0,"title":["Om prosjektet Jording med (bl\u00e5)leire"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T07:07:11Z","timestamp":1741331231000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2947857\/2947710"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2947857","published":{"date-parts":[[2025,3,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T04:03:30Z","timestamp":1749787410669,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T00:00:00Z","timestamp":1749686400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,6,12]]},"abstract":"AMASS\u2013AMAS\u2013WEIRD oli Utsjoella vuonna 2021 toteutunut yhteis\u00f6taideprojekti osana Euroopan Union rahoittamaa Acting on the Margins: Arts as Social Sculpture -tutkimushanketta (2020\u20132023). Euroopan reuna-alueiden vuorovaikutusta ja yhteisty\u00f6t\u00e4 lis\u00e4\u00e4v\u00e4 taideperustainen toimintatutkimus sis\u00e4lsi yhteis\u00f6taiteen, sosiaalisesti sitoutuneen taiteen ja taidekasvatuksen kehitt\u00e4mist\u00e4 paikallisyhteis\u00f6iss\u00e4. AMASS\u2013AMAS\u2013WEIRD -toteutettiin Lapin yliopiston yhten\u00e4 vastuualueena ja osana delokolonisoivan arktisen taiteen viitekehyst\u00e4, vaikkakin eurooppalaisessa hankej\u00e4rjestelm\u00e4ss\u00e4, johon sis\u00e4ltyy Euroopan yhten\u00e4isyyden taustatavoitteita. T\u00e4ss\u00e4 ekspositiossa tarkastelemme taidek\u00e4sityksen arktista dekolonisaatiota, yhteis\u00f6taidetta, kuvataidekasvatusta ja hankkeen tutkimusprosessia dekolonisaation n\u00e4k\u00f6kulmista. AMASS\u2013AMAS\u2013WEIRD vahvisti kulttuurisen moninaisuuden kunnioitusta ja tuki vuorovaikutusta saamelais- ja suomalaiskulttuurien sis\u00e4ll\u00e4 ja niiden v\u00e4lill\u00e4. J\u00e4nnitteit\u00e4 ilmeni niin sanottuun tutkimus\u00e4hkyyn, marginaalisuuden olettamaan sek\u00e4 rahoitusinstrumenttiin liittyen. Johtop\u00e4\u00e4t\u00f6ksen\u00e4 korostamme taiteen ja tutkimuksen kolonialististen rakenteiden ja eettisten periaatteiden kriittisen tarkastelun merkityst\u00e4 kulttuurien dialogista kohtaamista tukevan ja yhteyksi\u00e4 luovan toiminnan kehitt\u00e4misess\u00e4.<\/jats:p>\n keywords: taidekasvastus, kuvataide, yhteis\u00f6taide, tutkimus, arktinen, saamelaiskulttuuri, Eurooppa, Lappi, kuvataidekasvatus, Action Research, arctic, art education<\/jats:p>","DOI":"10.22501\/ruu.2600850","type":"journal-article","created":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T06:30:00Z","timestamp":1749709800000},"source":"Crossref","is-referenced-by-count":0,"title":["Taiteen pohjoista dekolonisaatiota: Kuvataidekasvatuksen taidetta Utsjoella"],"prefix":"10.22501","author":[{"family":"Mirja Liisa Hiltunen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Maria Huhmarniemi","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T06:30:01Z","timestamp":1749709801000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2600850\/2600851"}},"issued":{"date-parts":[[2025,6,12]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2600850","published":{"date-parts":[[2025,6,12]]}},{"indexed":{"date-parts":[[2025,6,17]],"date-time":"2025-06-17T05:09:44Z","timestamp":1750136984686},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,6,14]]},"abstract":"This exposition investigates the relationship between maps, space and body. It looks at mental maps \u2014 images of the environment that we hold in our memory. It argues that a map we store in our minds is not merely a functional device for navigation, but a system of signs, values and meanings that allow us to re-imagine the space, appropriate it and develop new social practices.\nThe study places mental images inside Lefebvre's triad of social space (Lefebvre, 1991). It suggests that mental images are a manifestation of the third component of the triad, the lived space, which includes alternative imaginations, symbolic values and appropriations of space. The exposition explores this claim via a dataset of 37 mental maps created by Masters-level students at Aalto University in Finland in November 2018. By qualitatively analysing the contents and the morphology of the hand-drawn maps, it traces how the lived space is both passively perceived and actively re-imagined.\nThe main contribution of the exposition is bringing the imagined space to the attention of urban planning professionals. It suggests that the distorted, inconsistent and idiosyncratic mental images are more than a reduced schema of a physical environment. They support alternative re-imagining and catalyse the process of creative appropriation, enabling bottom-up urban transformation.<\/jats:p>","DOI":"10.22501\/ruu.452508","type":"journal-article","created":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T09:48:22Z","timestamp":1560505702000},"source":"Crossref","is-referenced-by-count":1,"title":["Maps, space and body: connecting mental representations of space to the production of space"],"prefix":"10.22501","author":[{"family":"Anna Kholina","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:06Z","timestamp":1727193726000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/452508\/452509"}},"issued":{"date-parts":[[2019,6,14]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/ruu.452508","published":{"date-parts":[[2019,6,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:19Z","timestamp":1727238679103},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Pieter Koster \nMain Subject: Wind band Conducting \n\nResearch Supervisor: Paul Scheepers \n\nTitle of Research: George Lloyd \u2013 Music for brass, from symphony to test-piece \n\nResearch Questions: \n1. Did George Lloyd change his way of composing from Symphony no. 10 via Royal \nParks to Diversions on a Bass Theme? \n\na. In what way does George Lloyd treat the following compositional elements in \neach piece? \n\ni. Structure \nii.Harmony \niii.Thematic material \niv. Musical Tension \n\nb. In what way does the treatment of these elements differ in each piece? \n\n2. Did George Lloyd succeed in combining his own views with the demands of the test-piece commissions, to write an appropriate test-piece? Summary of Results: Cornish symphonic and opera composer George Lloyd has written several compositions for brass, starting with a symphony for brass ensemble (Symphony no. 10) and then several test-pieces for brass band. The commission of test-pieces for brass band contests appears to be guided only by implicit criteria for these sort of compositions. Lloyd\u2019s first test-piece, Royal Parks, apparently did not meet the criteria and his second test-piece, Diversions on a Bass Theme, did. This thesis investigates if George Lloyd changed his way of composing to write an appropriate test-piece, by a detailed analysis of Symphony no. 10, Royal Parks and Diversions on a Bass Theme. Besides that the thesis will try to answer the question if Lloyd was able to combine his own musical views with the demands of the test-piece commissions. The main findings are that Lloyd remained within his own musical language when writing the test-pieces, however he made some decisive choices regarding structure, form and thematic material that influenced the compositions significantly. He did partially succeed in combining his own views with the demands of the test-piece commissions. Biography: Pieter Koster (1985) completed his Bachelor\u2019s Degrees at the Royal Conservatory in The Hague as a student of Ad van Zon on the trumpet, and Alex Schillings for conducting. In September 2016 he successfully completed his Master-exam concert with the Bundes Polizeiochester M\u00fcnchen. Pieter has participated in multiple conducting courses with renowned (professional) orchestras and teachers. Today he is professional conductor of the fanfare orchestras \u2018Ons Genoegen\u2019 Hattem, \u2018Wilhelmina\u2019 Volendam and the Koninklijke Brassband Utrecht. He is also a brass teacher for numerous students. Since 2014 he is secretary and member of the board of the Dutch Association of Wind band Conductors (Bond van Orkestdirigenten en Instructeurs).<\/jats:p>","DOI":"10.22501\/koncon.63714","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:45:20Z","timestamp":1725921920000},"source":"Crossref","is-referenced-by-count":0,"title":["George Lloyd - Music for Brass, from symphony to test-piece"],"prefix":"10.22501","author":[{"family":"Pieter Koster","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:45Z","timestamp":1727193465000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/63714\/63715"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.63714","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:18Z","timestamp":1727238678856},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,10,27]]},"abstract":"What than is music? \u2013 Music is language.\u2019 Composer Anton Webern was quite outspoken in 1932 : 'A human being wants to express thoughts in this language, but not a thought that can be transferred into an idea, but only into another musical thought.\u2019 Almost sixty years later composer Wolfgang Rihm isn\u2019t sure whether music is a language but states in his speech 'Was \u2018sagt\u2019 Musik\/ What does music \u2018say\u2019?:\u2019 if music is saying something, than the first what is addressed to us is: speak! Music wants to make us speak. That\u2019s what music says!\u2019\n\nThat raises the question whether music can be referential or carry meaning just as language can. A question that has made many speak and filled libraries of studies. Cognitive psychologist Aniruddh D. Patel writes in 2008: \u2018A natural place to turn for help in defining musical meaning is the work of music theorists and philosophers of aesthetics\u2019. After summing up a dozen publications on the topic since Webern made his statement, Patel reports: \u2018No consensus has emerged from these writings for a definition of musical meaning.\u2019\n\nThere is a lot of evidence in linguistics that qualities attributed to musicality contribute to language being the carrier of meaning. So what about the other way around? Can language help to understand what is experienced as meaningful in music?\n\nLanguage itself is an indicator that qualities inherent to language are often given to music. In German the word Interpret is used for instrumentalists performing music. The Dutch language has the word zeggingskracht that attributes power to music. 'Zegging-\u2019 stems from the verb zeggen (to say), \u2018kracht\u2019 means power. Zeggingskracht was one of the three criteria to assess the work of composers by the Fund for the Creation of Music (Fonds voor de Scheppende Toonkunst ) in The Netherlands. When the power to speak is inhibited and people stammer or lose their speech suffering from aphasia, it has been said that \u201conly music, can do the calling.\u201d And it\u2019s almost a clich\u00e9 to say that music can express what can\u2019t be given words.\n\nMusic is not a language but often sounds like one. What do musicians that are \u2018speaking\u2019 that music have to say about meaning in music, singing, performing or creating what composer Louis Andriessen describes as \u2018talkative\u2019 music? Or the stammering that composer Gy\u00f6rgy Kurt\u00e1g calls his mother language? How do musicians give words to those moments when their music does the talking?\n\nWhat is the word is the last text that Samuel Beckett completed at the end of his life when through a stroke he periodically suffered from the disability to finds words, commonly diagnosed as aphasia. The Irish author inspired many to explore the zeggingskracht of music. Precise as he was, Beckett left out a question mark in the title, both in the original French version of Comment dire and in his English translation. That the title of Samuel Beckett\u2019s last text is not posing a question but may provide us with an answer, is the hypothesis of this research.<\/jats:p>","DOI":"10.22501\/koncon.1251747","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:39:33Z","timestamp":1725921573000},"source":"Crossref","is-referenced-by-count":0,"title":["What is the word"],"prefix":"10.22501","author":[{"family":"Renee Jonker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:28Z","timestamp":1727193388000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1251747\/1251746"}},"issued":{"date-parts":[[2021,10,27]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1251747","published":{"date-parts":[[2021,10,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:23Z","timestamp":1727238683614},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"The exposition is a visual-textual essay in which I explore Karen Barad\u2019s agential realism in conversation with my installation \u201c\u201dUntitled 1-3\u201d consisting of three interactive artifacts: knitted dress-like objects, responding to touch. An installation is understood here as an ongoing process of materialization which assumes different instantiations over time. I will approach these in dialogue with Barad\u2019s concept of the \u201cagential cut\u201d, inquiring into three \u201ccuts\u201d in which the installation is enacted in three different configurations.<\/jats:p>","DOI":"10.22501\/ruu.371984","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T15:49:52Z","timestamp":1538236192000},"source":"Crossref","is-referenced-by-count":0,"title":["Enacting Agential Cuts - Notes on the Untitled 1-3 (2014)"],"prefix":"10.22501","author":[{"family":"Heidi Tikka","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:03:13Z","timestamp":1727193793000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/371984\/386688"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.371984","published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:25Z","timestamp":1727238685875},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2015,7,2]]},"abstract":"Based upon the work with the chamber opera Ps. Jag kommer snart hem! (Eng. Ps. I will be home soon!), this presentation aims at describing the working process towards a new musical work, as it takes place in the setting of exploratory workshops. Drawing upon observations and conversations, benefits and challenges are brought forward and discussed through the use of examples. An over-arching concept of calibration is presented; the work in focus housed calibration on at least two different levels: calibration towards the work and calibration within the work. As the article concludes, this process is of great artistic value and may also assist in facilitating for the commissioner, and possibly in extension, the presumed audience of a new musical work.<\/jats:p>","DOI":"10.22501\/ruu.142373","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:23Z","timestamp":1503649463000},"source":"Crossref","is-referenced-by-count":0,"title":["We Can Work It Out - Calibration as Artistic Method"],"prefix":"10.22501","author":[{"family":"Anna Einarsson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:20Z","timestamp":1727193860000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/142373\/142374"}},"issued":{"date-parts":[[2015,7,2]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/ruu.142373","published":{"date-parts":[[2015,7,2]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:31Z","timestamp":1727238691487},"posted":{"date-parts":[[2018,4,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The performer\u2019s perspective and the impact of collaboration on the performer\u2019s artistic practice is often overlooked in frameworks designed to analyze collaboration in contemporary music. The conception of what a performer is \u2018for\u2019 in the development of a new musical piece is, at least in part, what constitutes a performer\u2019s artistic practice, whether that is the performer as an interpreter and executor of scores, as an adviser to the composer, and\/or as a co-creating deviser. The interpreter-adviser-deviser model is conceived as a framework for considering the ways composer-performer collaborations can influence and contribute to the construction of a performer\u2019s artistic practice and subjectivity. Collaboration is not only a method of creating new works, it's also a method for creating artistic practices. Drawing on examples of devised practices as exhibited in Jennifer Torrence\u2019s artistic research, practices which are communicated through reflections, dialogues, images, and videos, the article ultimately argues that it is the performer as deviser that offers the most radical rethinking of the purpose, role, and potential of the performer in contemporary music collaboration.<\/jats:p>","DOI":"10.22501\/vis.391025","type":"posted-content","created":{"date-parts":[[2018,5,5]],"date-time":"2018-05-05T08:52:59Z","timestamp":1525510379000},"source":"Crossref","is-referenced-by-count":0,"title":["Rethinking the Performer: Towards a Devising Performance Practice"],"prefix":"10.22501","author":[{"family":"Jennifer Torrence","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:17Z","timestamp":1727194157000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/391025\/391476\/25\/26"}},"issued":{"date-parts":[[2018,4,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/vis.391025","published":{"date-parts":[[2018,4,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:31Z","timestamp":1727238691905},"posted":{"date-parts":[[2024,1,30]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition is deliberately incomplete not only because, arguably, this is the nature of research, but due to the author's working with a sense of in-the-meantime, while waiting for the results of a DNA Ancestry test. The research is therefore a preemptive response to a genetics and identity project to be explored through drawing, hosted by i3S, Institute of Investigation and Innovation in Health, University of Porto, Portugal. The exposition presents a degree of drift from a starting-point of family photos processed through drawing by a fictional artist, to a more conceptual idea of microbiological cells of which their content is increasingly fragmented text. As the drawing process develops, the use of coffee-staining is a key medium, its geographical origin conferring roughly with that of the human species. Such drift of content between creative writing, visualisation, and academic writing, is possible on the basis that the author does not as yet have a clear idea of what the DNA Ancestry findings will disclose or how they will look. An after-the-test exposition will follow the present exposition \u2013 which is interesting in terms of how such future knowledge will be in the wake of, and responsive to, a stage of indetermination.<\/jats:p>","DOI":"10.22501\/i2ads.2143958","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:19Z","timestamp":1727194159000},"source":"Crossref","is-referenced-by-count":0,"title":["Ancestry \u2013 before DNA test \u2013 considered through drawing"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:09:19Z","timestamp":1727194159000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2143958\/2143959"}},"issued":{"date-parts":[[2024,1,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.2143958","published":{"date-parts":[[2024,1,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,11,13]],"date-time":"2025-11-13T16:47:48Z","timestamp":1763052468601,"version":"3.45.0"},"posted":{"date-parts":[[2025,11,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,13]],"date-time":"2025-11-13T00:00:00Z","timestamp":1762992000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"AbstractThis Research Catalogue exposition with audio-visual examples documents ongoing research into artistic interactions helping to ascertain and streamline prosocial and empathic behavior in groups with divergent backgrounds and modes of thinking and how these skills can benefit the artistic endeavors positively.Promoting intersociality and an empathic approach to collective music making amongst individuals who represent different schools of musical thoughts and styles or expertise, as well as bringing to the table divergent cultural backgrounds and individual characteristics is the aim of Ensemble Improvisation Experimentell (E i E), founded and lead by me at the Music and Arts University of the City of Vienna (MUK) since February 2021. In a world of pandemics, climate crisis and war it may seem idealistic, even fanciful, to search for moments of \u2018shared empathy\u2019 or creative symbiosis amongst musicians in professional exchanges and its influence on artistic experience and outcome, without immediately searching for ways of dimming the fire of destruction through war and climate crisis that our global society faces. However, finding micro-solutions through artistic endeavors and promoting a more sustainable future for the arts themselves in general, and specifically for the genre of contemporary music, is a valuable goal and tool for infiltrating humanism with sustainable thinking and acting patterns. Extensive video and audio documentation of practice sessions and performances, as well as exemplary images are attached to this exposition.<\/jats:p>\n keywords: empathy, prosociality, intuition, collaboration, improvisation, communication, Flow<\/jats:p>","DOI":"10.22501\/rc.2196269","type":"posted-content","created":{"date-parts":[[2025,11,13]],"date-time":"2025-11-13T16:43:25Z","timestamp":1763052205000},"source":"Crossref","is-referenced-by-count":0,"title":["Shared Empathy in collaborative Improvisation \u2013 Reciprocal creative interactions between musicians of divergent musical and cultural backgrounds"],"prefix":"10.22501","author":[{"family":"Jean Beers","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,13]],"date-time":"2025-11-13T16:43:25Z","timestamp":1763052205000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2196269\/2196270"}},"issued":{"date-parts":[[2025,11,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2196269","published":{"date-parts":[[2025,11,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T04:07:20Z","timestamp":1763438840970,"version":"3.45.0"},"posted":{"date-parts":[[2025,11,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T00:00:00Z","timestamp":1763424000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"With the big resonators and earpieces (\u00e9coutoirs) that were created in 2022 as part of the exhibition \u201cEsprits des lieux\u201d for the Chapelle de l\u2019Observance in Draguignan, I try to look into a hitherto invisible landscape and to deal with new perceptions and gestures. The reality of this landscape eludes frontal observation and emerges through a kind of sensory, sensual immersion. My personal idea of empathy and exploration comes to the fore: not to be inspired by the place or nature, but to lose ourselves in them in order to find out what still needs to be searched for, explored and built. In my lecture and the subsequent sound presentation, I will focus in particular on the question of togetherness and mutual awareness of space and research, space and art.<\/jats:p>\n keywords: artistic research, soundscape, Soundart, Sensory design, Art, architectural research, ambiance, ecology<\/jats:p>","DOI":"10.22501\/rc.3930281","type":"posted-content","created":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T04:04:36Z","timestamp":1763438676000},"source":"Crossref","is-referenced-by-count":0,"title":["Big Resonators and Earpieces"],"prefix":"10.22501","author":[{"family":"El\u00e9onore Bak","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T04:04:36Z","timestamp":1763438676000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3930281\/3930282"}},"issued":{"date-parts":[[2025,11,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3930281","published":{"date-parts":[[2025,11,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T21:53:15Z","timestamp":1777672395536,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"This exposition presents an approach to urban research whose main features consist in addressing the city as a not yet objectified process of the emergence of sense, and in inquiring into this flow through particular aesthetic research practices. It has been realized in two iterations: City as a thin line by the sea_Merihaka \/ Sompasaari and Exploring signlessness: an essay on the proto-phenomenal city. This exposition presents the conceptual framework of this approach, short descriptions and the scores of the aesthetic research practices that were activated in these iterations, and the artifacts they generated. I believe that this approach addresses a fundamental dimension of the city\u2014its most intimate enactment through the silent interaction between bodies and their urban surroundings\u2014and as such is complementary to all other varieties of urban research. In this sense, the exposition aims to facilitate the incorporation of this approach into an ecology of urban research. The research presented through this exposition results from the convergence of my current research project\u2014The Sense of Common Self\u2014and the project within which this Special Issue has been generated.<\/jats:p>\n keywords: Aesthetic research, Sense-making, City, Urban research, enactivism, Singlesness, anonymity<\/jats:p>","DOI":"10.22501\/ruu.3014541","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:04:45Z","timestamp":1777449885000},"source":"Crossref","is-referenced-by-count":0,"title":["City as stream of sense. An exploration through aesthetic research practices"],"prefix":"10.22501","author":[{"family":"Alex Arteaga","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:04:46Z","timestamp":1777449886000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3014541\/3014542"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3014541","published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T19:03:32Z","timestamp":1754161412930,"version":"3.41.2"},"posted":{"date-parts":[[2025,3,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,29]],"date-time":"2025-03-29T00:00:00Z","timestamp":1743206400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Este ensaio faz parte da investiga\u00e7\u00e3o em arte no \u00e2mbito do doutorado em artes pl\u00e1sticas na Universidade do Porto, e foi escrito com o intuito de registro de mem\u00f3ria e debate sobre a obra art\u00edstica \"Cong\u00e1 Fora do Tempo\" com lentes direcionadas ao ponto de vista filos\u00f3fico e da investiga\u00e7\u00e3o em arte, tentando compreender como uma instala\u00e7\u00e3o acompanhada de uma a\u00e7\u00e3o sutil pode proporcionar uma experi\u00eancia sens\u00edvel e espiritual ao espectador, \u00e0 obra e \u00e0s pessoas \u00e0 sua volta. A espiritualidade aqui abordada n\u00e3o \u00e9 a espiritualidade de Merleau-Ponty, em que a espiritualidade \u00e9 um fen\u00f3meno enraizado na corporeidade e na perce\u00e7\u00e3o, mas a espiritualidade presente em cada pessoa, de maneiras diferentes.\n---------------------------------------------------------------------------\nThis essay is part of the art research within the scope of the doctorate in fine arts at the University of Porto and was written to record memory and debate on the artistic work \u201cCong\u00e1 Fora do Tempo\u201d with lenses directed at the philosophical point of view and art research, trying to understand how an installation accompanied by a subtle action can provide a sensitive and spiritual experience to the viewer, the work and the people around it. The spirituality addressed here is not Merleau-Ponty's spirituality, when it is a phenomenon rooted in corporeality and perception, but the spirituality present in each person, in different ways.<\/jats:p>\n keywords: Sorcery, feiti\u00e7aria, performance, promoter, art research, art, installation, magia<\/jats:p>","DOI":"10.22501\/rc.3403727","type":"posted-content","created":{"date-parts":[[2025,7,28]],"date-time":"2025-07-28T21:09:16Z","timestamp":1753736956000},"source":"Crossref","is-referenced-by-count":0,"title":["Cong\u00e1 Fora do Tempo\/Cong\u00e1 out of Time"],"prefix":"10.22501","author":[{"family":"Carolina Albuquerque","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,7,28]],"date-time":"2025-07-28T21:09:16Z","timestamp":1753736956000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3403727\/3403728"}},"issued":{"date-parts":[[2025,3,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3403727","published":{"date-parts":[[2025,3,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,5,18]],"date-time":"2025-05-18T22:40:06Z","timestamp":1747608006445,"version":"3.40.5"},"posted":{"date-parts":[[2025,5,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,5,19]],"date-time":"2025-05-19T00:00:00Z","timestamp":1747612800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research project introduces a 14-minute album, Radiohead Daydreaming (Piano Phase Remix), a remix of an excerpt from Radiohead\u2019s introspective track \u201cDaydreaming.\u201d Employing the minimalist technique of piano phase music\u2014pioneered by composers like Steve Reich\u2014the remix overlays two identical musical lines that gradually shift out of sync, generating intricate rhythmic and harmonic textures. This experimental approach reimagines Radiohead\u2019s atmospheric soundscape, questioning the boundaries of remixing as a creative practice and questioning the integration of avant-garde methods into popular music genres. The work situates itself at the intersection of contemporary music and popular culture, challenging conventional notions of authorship, perception, and musical temporality. By applying phase music to a widely recognized song, the remix fosters a dialogue between experimental composition and mainstream accessibility, inviting listeners to engage with familiar material in a novel context. This process not only recontextualizes the original but also explores the potential of remix culture as a site for innovation and critical inquiry. As a case study in artistic research, Radiohead Daydreaming (Piano Phase Remix) underscores the artist\u2019s role as a researcher, pushing the limits of genre fluidity and creative transformation. The project contributes to broader discussions on the democratization of experimental music and the capacity of remixing to bridge diverse musical traditions, offering new perspectives on the interplay between art, sound, and society.<\/jats:p>\n keywords: Artistic Research, Remix Culture, Piano Phase, Experimental Music, Radiohead, Popular Music, Minimalism, Social Art, Genre Fluidity, Sound Transformation<\/jats:p>","DOI":"10.22501\/rc.3685697","type":"posted-content","created":{"date-parts":[[2025,5,18]],"date-time":"2025-05-18T22:06:50Z","timestamp":1747606010000},"source":"Crossref","is-referenced-by-count":0,"title":["Radiohead: Daydreaming (Piano Phase Remix)"],"prefix":"10.22501","author":[{"family":"Charles White","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,5,18]],"date-time":"2025-05-18T22:06:50Z","timestamp":1747606010000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3685697\/3685698"}},"issued":{"date-parts":[[2025,5,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3685697","published":{"date-parts":[[2025,5,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,6,27]],"date-time":"2025-06-27T04:05:54Z","timestamp":1750997154987,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,6,26]],"date-time":"2025-06-26T00:00:00Z","timestamp":1750896000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2025,6,26]]},"abstract":"This project identifies a shortcoming in the range and coherence of the language that musicians use, in particular the Norwegian instrumental traditional music (folk music), when they aim to communicate the craft elements of their practice. \n\nThe Craftmanship project identifies craft as deep knowledge that is a result of skills based activities that again result in tacit knowledge. This knowledge has traditionally been communicated between practitioners or from master to apprentice through a series of subtle cues, ideas or metaphors, which resist language \u2013 it is learned through experience and a form attunement between the participants. \n\nThe project therefore, proposes to develop a vocabulary, based on and drawn from a practitioner\u2019s perspective, through the \u201clanguaging\u201d of keywords, and a critique of scores in order to revitalise the transmission of this knowledge for a new generation of musicians. Furthermore, it proposes that when attunement happens, it facilitates profound moments in performances, where the musician and audience reach a tacit recognition. The project proposes that these moments, colloquially described as \u2018Magic Moments\u2019 are the aim of most musicians in performance situations. These moments are often dependent on social situations. The project aims to construct a framework for further investigation of the contexts within which these moments manifest themselves.<\/jats:p>\n keywords: sl\u00e5ttetromme, percussion, drum beatings, sl\u00e5tt, craft, h\u00e5ndverk, seremoni, ritual, hardanger fiddle, traditional music, Indre Sogn (Norway), re-creation, revival of tradition<\/jats:p>","DOI":"10.22501\/nmh-ar.1059980","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T08:11:21Z","timestamp":1743667881000},"source":"Crossref","is-referenced-by-count":0,"title":["Craftmanship"],"prefix":"10.22501","author":[{"family":"Kjell Tore Innervik","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,6,26]],"date-time":"2025-06-26T11:14:42Z","timestamp":1750936482000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1059980\/1059981"}},"issued":{"date-parts":[[2025,6,26]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1059980","published":{"date-parts":[[2025,6,26]]}},{"indexed":{"date-parts":[[2025,8,29]],"date-time":"2025-08-29T00:03:34Z","timestamp":1756425814515,"version":"3.44.0"},"posted":{"date-parts":[[2025,8,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T00:00:00Z","timestamp":1756339200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition brings together the epistemologies of art-making and translation. It presents a series of artworks the curators commissioned for a travelling exhibition on \u2018Experiential Translation\u2019 (2022-2025). Many of the works were created under the auspices of the Experiential Translation Network, which facilitates collaboration and exchange between translators, writers, poets, artists and scholars from across the globe. \nThe concept of \u2018experiential translation\u2019 as elaborated by Campbell and Vidal (2019, 2024, 2025), highlights embodied, multimodal communication as a performative inquiry into meaning-making. Blending art and translation practices, experiential translation values materiality, participation, and co-creation. Rather than mere transfer of meaning, translation is seen as a process of discovery, research, and knowledge production, embracing the unknown and exploring that which escapes language.\nEncouraging a rhizomatic viewing experience, the exposition is structured into three interconnected thematic 'rooms', Serial Metamorphosis, (Un)repetition and Ludic Translation, which can be visited in any order, or even simultaneously. \nThe exposition includes video art, performance, (interactive) installation, sound art, poetry, painting and photography.\n\n\nThis work was supported by the AHRC under Grant AH\/V008234\/1, awarded to Ricarda Vidal (PI) and Madeleine Campbell (Co-I) .\nEthical Clearance Reference Number (King\u2019s College London): MRA-22\/23-34543<\/jats:p>\n keywords: translation, meaning-making, knowledge construction, experiential, materiality, aesthetic form, communication, knowledge production, Intersemiotics<\/jats:p>","DOI":"10.22501\/rc.1738376","type":"posted-content","created":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T08:44:22Z","timestamp":1756370662000},"source":"Crossref","is-referenced-by-count":0,"title":["How eyes can hear and ears can see: an exposition on experiential translation"],"prefix":"10.22501","author":[{"family":"Ricarda Vidal","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Madeleine Campbell","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T08:44:22Z","timestamp":1756370662000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1738376\/1749963"}},"issued":{"date-parts":[[2025,8,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1738376","published":{"date-parts":[[2025,8,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,9,11]],"date-time":"2025-09-11T20:05:40Z","timestamp":1757621140389,"version":"3.44.0"},"posted":{"date-parts":[[2020,9,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,9,28]],"date-time":"2020-09-28T00:00:00Z","timestamp":1601251200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Since its 1955 premiere, Le Marteau sans maitre, by Pierre Boulez, has consistently been regarded as one of the more important modernist compositions of the post-war era. Certainly, it ranks among the best-known works of Pierre Boulez and our purpose is to see if we can uncover some of its structures. This composition, based on a text by Ren\u00e9 Char, was written for alto voice, flute, viola, guitar, vibraphone, and percussion. Before Le Marteau, Boulez had created some other serial works: Structures I for two pianos, Polyphonie X for eighteen instruments, and another tour-de-force, known as the Second Piano Sonata which gained him an international reputation back in 1950. Although many have attempted to analyze Le Marteau's serial organization, Lev Koblyakov has been considered successful in analyzing it. Boulez\u2019s multiple serial compositional techniques have been greatly illuminated through Koblyakov\u2019s work; taking this as my touchstone, I will herein discuss a few of the compositional strategies utilized by Boulez.<\/jats:p>\n keywords: music analysis, composition, music theory, Pierre Boulez<\/jats:p>","DOI":"10.22501\/rc.718708","type":"posted-content","created":{"date-parts":[[2020,9,27]],"date-time":"2020-09-27T21:40:30Z","timestamp":1601242830000},"source":"Crossref","is-referenced-by-count":0,"title":["An Analytical Study on Pierre Boulez\u2019s Le Marteau sans ma\u00eetre"],"prefix":"10.22501","author":[{"family":"Saman Samadi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,9,8]],"date-time":"2025-09-08T12:24:54Z","timestamp":1757334294000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/718708\/718709"}},"issued":{"date-parts":[[2020,9,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.718708","published":{"date-parts":[[2020,9,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:13:00Z","timestamp":1759335180166,"version":"build-2065373602"},"posted":{"date-parts":[[2025,9,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,4]],"date-time":"2025-09-04T00:00:00Z","timestamp":1756944000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition inaugurates the series The Sonic Atelier \u2013 Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer today. Through a Q&A format, the project investigates how contemporary creators integrate composition, production, performance, and technology into their artistic identity. This first interview features Luca Longobardi, who reflects on his hybrid practice across classical and electronic music, immersive performance, and sound design, offering insights into the fluid boundaries between writing, production, and live interpretation.<\/jats:p>\n keywords: Contemporary Composition, music production, Performance studies, post-classical, neoclassical, film music, film score, immersive performance, sound design, Luca Longobardi, expanded score, hybridity, Composer, producer<\/jats:p>","DOI":"10.22501\/rc.3848320","type":"posted-content","created":{"date-parts":[[2025,9,4]],"date-time":"2025-09-04T15:54:28Z","timestamp":1757001268000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sonic Atelier \u2013 A Conversation with Luca Longobardi"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0008-6646-3987","authenticated-orcid":false,"family":"Francesca Guccione","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:39Z","timestamp":1759302639000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3848320\/3848319"}},"issued":{"date-parts":[[2025,9,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3848320","published":{"date-parts":[[2025,9,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:11:41Z","timestamp":1759335101583,"version":"build-2065373602"},"posted":{"date-parts":[[2022,10,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,10,3]],"date-time":"2022-10-03T00:00:00Z","timestamp":1664755200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is video is a summary of the digital exhibition about Chinese lotus shoes.\n\nlink: https:\/\/trc-leiden.nl\/trc-digital-exhibition\/index.php\/chinese-lotus-shoes.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.1751974","type":"posted-content","created":{"date-parts":[[2022,10,3]],"date-time":"2022-10-03T06:16:32Z","timestamp":1664777792000},"source":"Crossref","is-referenced-by-count":0,"title":["Video Summary - Chinese Lotus Shoes"],"prefix":"10.22501","author":[{"family":"Zhenyi Zhou","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:20Z","timestamp":1759302620000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1751974\/1751975"}},"issued":{"date-parts":[[2022,10,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1751974","published":{"date-parts":[[2022,10,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,31]],"date-time":"2025-12-31T16:40:32Z","timestamp":1767199232620,"version":"3.48.0"},"posted":{"date-parts":[[2025,12,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,31]],"date-time":"2025-12-31T00:00:00Z","timestamp":1767139200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"MINA is a collaborative project that investigates sharing as a material condition of artistic practice. It seeks to create situations where practices can remain active and in relation, fostering exchanges between different forms of knowledge through situated encounters and provisional configurations.Rather than treating sharing as a discrete act, MINA understands it as an ongoing practice that shapes how attention circulates, how relations are formed, and how practices are sustained over time. Dialogues, exchanges, critiques, and other forms of mutual influence operate here not as supplementary moments, but as constitutive forces within artistic processes, even when their effects are subtle, delayed, or difficult to trace.Working without predefined methods, MINA approaches artistic practice as a field of orientations that emerges through games, conversations, and shared situations. Each encounter becomes a way of testing how sharing can redistribute attention, unsettle habitual positions, and open space for collective thinking.<\/jats:p>\n keywords: artistic practices, sharing, artistic research, relational processes, situated encounters, art education<\/jats:p>","DOI":"10.22501\/rc.3131975","type":"posted-content","created":{"date-parts":[[2025,12,31]],"date-time":"2025-12-31T16:24:42Z","timestamp":1767198282000},"source":"Crossref","is-referenced-by-count":0,"title":["MINA, Cultivating Sharing as Artistic Matter"],"prefix":"10.22501","author":[{"family":"rosinda casais; catarina almeida; luana andrade; filipa cruz","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Catarina Almeida","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Luana Andrade","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Filipa Cruz","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,31]],"date-time":"2025-12-31T16:24:42Z","timestamp":1767198282000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3131975\/3131976"}},"issued":{"date-parts":[[2025,12,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3131975","published":{"date-parts":[[2025,12,31]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:46:08Z","timestamp":1767095168441,"version":"3.48.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,12,30]]},"abstract":"This exposition takes as its departure the systemic inertia identified within Western Higher Music Education (HME), where education is driven by skill acquisition in a master\u2013pupil format. Such approaches may hinder the growth of adaptable and reflective musicians. We propose an alternative: student-centred learning inspired by artistic research methods. To explicate this, we draw on findings through our own artistic research practices. Our hypothesis is that the model of the artistic, embodied research laboratory, as developed within the field of artistic research, may serve as a potent tool for renewal. By analysing our work as artist-researchers and educators, this exposition offers insights that support rethinking both institutional structures and pedagogical approaches in HME. Our aim is to strengthen student agency in learning situations and set them off on a path of lifelong learning. This research demonstrates that artistic research laboratories can provide practical frameworks for transforming HME pedagogy, offering educators concrete methods for fostering playful, inclusive, and sustainable learning environments whilst empowering students as active agents in their musical development.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.3070015","type":"journal-article","created":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:44:08Z","timestamp":1767095048000},"source":"Crossref","is-referenced-by-count":0,"title":["Sharing (in) the Lab: Artistic research in Higher Music Education"],"prefix":"10.22501","author":[{"family":"Halla Steinunn Stef\u00e1nsd\u00f3ttir","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Stefan \u00d6stersj\u00f6","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Ann Elkj\u00e4r","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Markus Tullberg","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:44:08Z","timestamp":1767095048000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3070015\/3070016"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3070015","published":{"date-parts":[[2025,12,30]]}},{"indexed":{"date-parts":[[2025,12,15]],"date-time":"2025-12-15T00:41:45Z","timestamp":1765759305164,"version":"3.48.0"},"posted":{"date-parts":[[2025,12,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,15]],"date-time":"2025-12-15T00:00:00Z","timestamp":1765756800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The zoo is not a neutral site of animal display but a meticulously curated mise en sc\u00e8ne where scenography dictates perception.This exposition reframes the zoological garden as a dispositif of control, foregrounding fabricated rock formations, artificial lighting, and concealed barriers as theatrical devices.Through square format photographic series that exclude animals, the work exposes the zoo\u2019s fragmented geographies as staged spectacles designed for human imagination rather than ecological integrity.The project interrogates authorship, agency, and representation, inviting viewers to reconsider the zoo as a cultural theatre of estrangement and illusion.<\/jats:p>\n keywords: mise-en-sc\u00e8ne, Dispositif, natureculture, scenography, Colonial imaginaries, fragmentation, zoo<\/jats:p>","DOI":"10.22501\/rc.4065423","type":"posted-content","created":{"date-parts":[[2025,12,15]],"date-time":"2025-12-15T00:39:36Z","timestamp":1765759176000},"source":"Crossref","is-referenced-by-count":0,"title":["The zoo: A mise-en-sc\u00e8ne"],"prefix":"10.22501","author":[{"family":"Jocelyn Michel Janon","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,15]],"date-time":"2025-12-15T00:39:37Z","timestamp":1765759177000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4065423\/4065424"}},"issued":{"date-parts":[[2025,12,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4065423","published":{"date-parts":[[2025,12,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,19]],"date-time":"2025-12-19T10:09:50Z","timestamp":1766138990597,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,5,8]]},"abstract":"By examining the materials that produce sound within contemporary art, we can approach sounding works not only from the perspective of \u201csound as sound\u201d or \u201csound in itself\u201d but rather as \u201csound as more than sound.\u201d Sound can never be without a history, culture, or political situation, and by approaching sounding practices in the same manner as we critically approach contemporary art practices, we allow matter to matter.<\/jats:p>","DOI":"10.22501\/jss.456784","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:11Z","timestamp":1733149631000},"source":"Crossref","is-referenced-by-count":1,"title":["Materials of Sound: Sound As (More Than) Sound"],"prefix":"10.22501","author":[{"family":"Caleb Kelly","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:11Z","timestamp":1733149631000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/456784\/456785"}},"issued":{"date-parts":[[2018,5,8]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/jss.456784","published":{"date-parts":[[2018,5,8]]}},{"indexed":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:36:45Z","timestamp":1761665805262,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"36","license":[{"start":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T00:00:00Z","timestamp":1761609600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,28]]},"abstract":"In this exposition, I explore my artistic practice based on collaborations between female folk singers in Finland and Bulgaria from 2018 to 2022. The artistic material of the exposition consists of a music video trilogy (2019, 2020 and 2022) based on my compositions and arrangements in the solo album Nani (2020), produced in cooperation with the younger generation of the Bulgarian women's choir, Le Myst\u00e8re des Voix Bulgares. In addition to the collaborative artistic practice, I interviewed six of the Bulgarian singers. Insights from the data gathered in these ethnographic interviews are intertwined with the analysis of the artistic practice. Throughout the artistic and ethnographic research processes, I applied a feminist intersectional pedagogical approach by focusing particularly on the power relations and the question of female agency in the arts and wider society. In this exposition, I argue that the incorporation of intersectional feminist perspectives in transnational artistic work can contribute to both artistic practice and transnational interactions in ways that may strengthen women's agency in the folk music field of their respective cultural and social environments. Feminist folk music composition was applied at all stages of the artistic and research work. By highlighting the stories, voices, and bodies of women of different ages and cultural locations, the artistic practice represented the construction of counter-myths and transgenerationality. In addition, an intersectional feminist approach helped to identify the power relations involved in transnational collaboration, particularly regarding economic inequality and the roles and different opportunities of women musicians in Finland and Bulgaria.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"download-media?work=3955500&file=3955515\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/span><\/jats:p>\n keywords: feminist folk music composing, Finno-Karelian folk singing, Bulgarian folk singing, transnationalism, intersectional feminism, The Mystery of the Bulgarian Voices<\/jats:p>","DOI":"10.22501\/jar.2038366","type":"journal-article","created":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:29:36Z","timestamp":1761665376000},"source":"Crossref","is-referenced-by-count":0,"title":["Becoming a Goddess in a Music Video Trilogy: Applying Intersectional Feminism in a Transnational Folk Singing Collaboration in Finland and Bulgaria"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-8254-8541","authenticated-orcid":false,"family":"Emmi Kujanp\u00e4\u00e4","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:29:37Z","timestamp":1761665377000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2038366\/2038367"}},"issued":{"date-parts":[[2025,10,28]]},"references-count":0,"journal-issue":{"issue":"36"},"URL":"https:\/\/doi.org\/10.22501\/jar.2038366","published":{"date-parts":[[2025,10,28]]}},{"indexed":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T16:50:43Z","timestamp":1773939043820,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T00:00:00Z","timestamp":1773878400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2026,3,19]]},"abstract":"The starting point for the exposition is the usage of a random generator as a selection method for creativity. The material has evolved into a collection of prose narratives, poetry, art pieces, and a research study examining the nature of the random generator and the implications of knowledge about its existence. The random generator consists of words shaped by the letter combinations that begin license numbers on the license plates of Swedish vehicles. Random words collected from vehicles have defined the subject for stories, compiled poems, inspired artworks, and guided research procedures.<\/jats:p>\n keywords: artistic research, visual art, randomizer, more-than-human, poetry as artistic research, sewing<\/jats:p>","DOI":"10.22501\/vis.3705155","type":"journal-article","created":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T15:31:23Z","timestamp":1773934283000},"source":"Crossref","is-referenced-by-count":0,"title":["Slumpgenerator som begr\u00e4nsande och befriande faktor \u2013 en studie av bokstavskombinationer i svenska registreringsnummer"],"prefix":"10.22501","author":[{"family":"Sanna Svane","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T15:31:23Z","timestamp":1773934283000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3705155\/3913594\/10"}},"issued":{"date-parts":[[2026,3,19]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/vis.3705155","published":{"date-parts":[[2026,3,19]]}},{"indexed":{"date-parts":[[2026,3,8]],"date-time":"2026-03-08T02:22:24Z","timestamp":1772936544473,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,7]],"date-time":"2026-03-07T00:00:00Z","timestamp":1772841600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The artistic research project HOW DO YOU SPELL THIS WORD is conceived as an exhibition project, built around a documentary essay film, that eals with the implementation of war rhetorics into the pedagogical system in Russian schools, and further on with ideological configurations and politicization of school spaces in a broader context; conditions of nonconformity and mechanisms of denunciation within them.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4177936","type":"posted-content","created":{"date-parts":[[2026,3,7]],"date-time":"2026-03-07T08:08:36Z","timestamp":1772870916000},"source":"Crossref","is-referenced-by-count":0,"title":["How do you spell this word?"],"prefix":"10.22501","author":[{"family":"Yulia Lokshina","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,7]],"date-time":"2026-03-07T08:08:36Z","timestamp":1772870916000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4177936\/4177937"}},"issued":{"date-parts":[[2026,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4177936","published":{"date-parts":[[2026,3,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T10:06:46Z","timestamp":1779185206897,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T00:00:00Z","timestamp":1779148800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2026,5,19]]},"abstract":"\u2018Dirty Spaces\u2019 is a series of performance experiments developed within the research project \u2018Spirits in Complexity \u2013 Making kin with Experimental Music Systems\u2019. The work investigates feedback-based performance setups as complex systems in which human, technological, and environmental actors interact on comparable levels. Instead of treating noise, instability, or interference as disturbances, the series explores them as constitutive elements of musical creation.Methodologically, \u2018Dirty Spaces\u2019 employs recurrent amplification, contact microphones, and parametric filtering to create fragile conditions in which even minimal gestures or environmental perturbations produce amplified sonic events. Variations of the series have incorporated additional components, such as live sampling or generative AI, as well as collaborative constellations with other musicians, thereby expanding the feedback ecology into more complex, entangled networks.Findings from these performances indicate that such setups expose emergent behaviors otherwise inaccessible through conventional instrument\u2013performer relationships. The notion of \u2018dirt\u2019 is central: audience presence, spatial conditions, electrical instabilities and algorithmic contributions all modulate the sonic field, shifting performance from control toward negotiation. These dynamics resonate with concepts such as Di Scipio\u2019s structural coupling and Latour\u2019s actor\u2013network theory, situating performance within an ecology of distributed agency.In conclusion, \u2018Dirty Spaces\u2019 demonstrates how feedback systems can serve as laboratories for investigating resonance, contingency, and kinship between humans and non-humans in music. By foregrounding fragility and unpredictability, the work contributes to a broader understanding of experimental music as a practice of attentiveness and reciprocity within complex systems.<\/jats:p>\n keywords: Experimental Music, Feedback, Complex Systems, Improvisation<\/jats:p>","DOI":"10.22501\/hub.3740281","type":"journal-article","created":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T09:19:09Z","timestamp":1779182349000},"source":"Crossref","is-referenced-by-count":0,"title":["Dirty Spaces"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-0962-6224","authenticated-orcid":false,"family":"Thomas Grill","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T09:19:09Z","timestamp":1779182349000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3740281\/3740282"}},"issued":{"date-parts":[[2026,5,19]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/hub.3740281","published":{"date-parts":[[2026,5,19]]}},{"indexed":{"date-parts":[[2025,3,2]],"date-time":"2025-03-02T17:10:13Z","timestamp":1740935413573,"version":"3.38.0"},"posted":{"date-parts":[[2025,3,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,2]],"date-time":"2025-03-02T00:00:00Z","timestamp":1740873600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The theoretical wisdom of the Epic theater derives from the conceptual perspective of Bertolt Brecht toward communication and performing arts in \"Der Rundfunk als Kommunikationsapparat\" (1932). Brecht's version of the radio reminds the participatory politics in the internet, which he later theorizes for theatre-qua-critique of the aristotelian drama of binding the spectator to the fiction ideologically, in the vicious cycles of pre- learned codes, the traditional and phony wisdoms of clans and classes, where the mere potential for change is to turn into a \"petit bourgeois\".<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3468653","type":"posted-content","created":{"date-parts":[[2025,3,2]],"date-time":"2025-03-02T16:29:38Z","timestamp":1740932978000},"source":"Crossref","is-referenced-by-count":0,"title":["A Note on the Idea of Networks Like a Contrivance in Epic Theatre"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,3,2]],"date-time":"2025-03-02T16:29:38Z","timestamp":1740932978000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3468653\/3468652"}},"issued":{"date-parts":[[2025,3,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3468653","published":{"date-parts":[[2025,3,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2022,3,29]],"date-time":"2022-03-29T07:10:51Z","timestamp":1648537851732},"posted":{"date-parts":[[2022,1,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.1097305","type":"posted-content","created":{"date-parts":[[2022,1,9]],"date-time":"2022-01-09T19:11:43Z","timestamp":1641755503000},"source":"Crossref","is-referenced-by-count":0,"title":["Assignment #6"],"prefix":"10.22501","author":[{"family":"Minke Kullberg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2022,1,9]],"date-time":"2022-01-09T19:11:44Z","timestamp":1641755504000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1097305\/1097732"}},"issued":{"date-parts":[[2022,1,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1097305","published":{"date-parts":[[2022,1,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738481},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,13]]},"abstract":"Name: Isa Goldschmeding\n\nMain subject: Violin\n\nResearch supervisor: Dr. Anna Scott\n\nTitle: Dancing About Music\n\nResearch Question: How does consciously moving while playing help to interpret and communicate a piece of music?\n\n\nSummary of Results: \nUsing movement is the most natural and direct way with which people express themselves. Elaborate research has been done on the connection between movement (gesture) and intention (meaning) in spoken language. The same principles and findings in these studies can be applied to movement and its connection to music. The method described in my case study, in which I studied Lera Auerbach\u2019s Lonely Suite for violin solo while focusing on my body\u2019s impulses, makes use of this instinctual way of showing what we feel, and therefore leads to a sincere and convincing interpretation. In so doing, this process can be very clarifying for a performer.\nBased on my research into the available background literature I can conclude that there is much to be gained by using conscious movement while learning and performing a piece of music. Indeed, various authors repeatedly emphasize the importance of this subject for musicians, and their hope that it will be further researched and developed within the context of musical performance. By way of my case study, I have indeed found that using movement provides a new approach to learning a piece of music and to developing a personal, sincere, and honest interpretation. Emerging from the unconscious, I strongly believe that an interpretation that has been reached through movement will translate strongest to a given audience.\nThe background sources surveyed have also proven the value of a movement-based approach for audiences. In addition to the obvious benefits for the performer as related to musical meaning and expression, benefits that are then shared by the audience, there is also the visual aspect of this approach to performing music with conscious movements: an aspect that is of great value when connecting, sharing, and communicating with audiences.\n\n\nBiography:\nIsa Goldschmeding studied with Axel Strauss at the San Francisco Conservatory of Music and with Theodora Geraets and Ilona Sie Dhian Ho at the Royal Conservatoire in The Hague. She participated in masterclasses with Theo Olof, Philippe Graffin, Stephan Picard, Isabelle van Keulen and the Osiris Trio. Isa enjoys playing chamber music, and has a special interest in contemporary music. In 2014 she was one of the instrumental soloists in Vivier\u2019s opera Kopernikus with the Dutch National Opera. She played with Asko|Sch\u00f6nberg, Ensemble Klang, Rosa Ensemble, Residentie Orkest and Nieuwe Philharmonie Utrecht and is a member of the young, The Hague based ensemble Kluster5.<\/jats:p>","DOI":"10.22501\/koncon.258374","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:48:00Z","timestamp":1725922080000},"source":"Crossref","is-referenced-by-count":0,"title":["Dancing About Music"],"prefix":"10.22501","author":[{"family":"Isa Goldschmeding","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:19Z","timestamp":1727193499000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/258374\/258375"}},"issued":{"date-parts":[[2016,6,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.258374","published":{"date-parts":[[2016,6,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:17Z","timestamp":1727238737620},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,14]]},"abstract":"Name: Bethany Shepherd\n\nMain Subject: Early Music Singing\n\nResearch Supervisor: Charles Toet\n\nTitle of Research: Subversive Climes: Exploring the role of exoticism in Les Indes Galantes\n\nResearch Question: What is the role of exoticism in Les Indes Galantes?\n\nSummary of Results: Exoticism in Rameau\u2019s op\u00e9ra-ballet Les Indes Galantes has three primary functions. By setting the plots of the four independent entr\u00e9es in real but geographically distant cultures, the librettist Louis Fuzelier was able to introduce new spectacles to the operatic stage, providing novelty for audiences jaded by the tradition of entertainment based on gods and mythology. This dramatic development in turn provided Rameau with the opportunity to manipulate and extend the musical conventions of the time in order to create a style of expression appropriate to depict these exotic characters and locales. A deeper understanding of the context in which Rameau and Fuzelier created this work was has further revealed that the libretto and Rameau\u2019s musical depiction of the characters in Les Incas du P\u00e9rou and Les Sauvages reflect the practice in early Enlightenment literary and philosophical cirlces of idealising exotic cultures to criticise eighteenth century French society. These conclusions offer modern performers a wider range of interpretive options when approaching this work, allowing for a more nuanced performance which brings together the elements of drama, music, philosophy and entertainment in a cohesive manner.\n\nBiography: Australian soprano Bethany Shepherd studied Classical Singing at the Queensland Conservatorium of Music, under renowned Wagnerian soprano Lisa Gasteen. After obtaining a Bachelor degree with distinction in Australia, Bethany moved to The Netherlands to undertake studies in Early Music at the Koninklijk Conservatorium. She is currently completing a Master of Early Music Singing, studying with Rita Dams, Jill Feldman, Peter Kooij, Michael Chance and Pascal Bertin.<\/jats:p>","DOI":"10.22501\/koncon.114056","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:47:44Z","timestamp":1725922064000},"source":"Crossref","is-referenced-by-count":0,"title":["Subversive Climes: Exploring the role of exoticism in Les Indes Galantes"],"prefix":"10.22501","author":[{"family":"Bethany Shepherd","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:15Z","timestamp":1727193495000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/114056\/129227"}},"issued":{"date-parts":[[2016,6,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.114056","published":{"date-parts":[[2016,6,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738041},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Danny Teong\nMain Subject: Trumpet, Early Music Performance \n\nResearch supervisors: Wouter Verschuren, Susan Williams \n\nTitle of Research: \nBreathtaking: An alternative approach to breathing for trumpeters\n\nResearch Question: \nBreathing simultaneously through the nose and mouth: What are the benefits for trumpet playing? How can this technique be learned?\n\nSummary of Results: \nBreathing in trumpet pedagogy is a controversial area. Trumpet method books contain seemingly conflicting instructions, and breathing through the mouth and focusing on low abdomen breathing dominates conventional brass pedagogy. This research attempts to explore the teachings of Willem van der Vliet, a retired trumpet teacher, who presents an alternative approach of including the nose in the inhalation process. I have used interviews, surveys, and investigated scientific and esoteric sources to attempt to explain the breathing mechanism and to understand how and why Willem\u2019s approach to breathing works, and how it can be learnt.\n \nBiography: \nDanny started playing the natural trumpet since 2011, and has freelanced with early music groups in the Netherlands and Germany. He is intrigued by the limitless rhetorical possibilities of early music and enjoys the portrayal of a singing trumpet via variations in articulation and sound colour. Danny is currently doing his master\u2019s degree with Susan Williams in Koninklijk Conservatorium, with support from Adriana Jacoba Fonds.<\/jats:p>","DOI":"10.22501\/koncon.216256","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:44:51Z","timestamp":1725921891000},"source":"Crossref","is-referenced-by-count":0,"title":["Breathtaking: An alternative approach to breathing for trumpeters"],"prefix":"10.22501","author":[{"family":"Danny Teong","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:39Z","timestamp":1727193459000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/216256\/307166"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.216256","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:18Z","timestamp":1727238738866},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,15]]},"abstract":"Vaikuttamisen festivaali oli vuosina 2016\u20132018 Baltic Circle -teatterifestivaalin osakokonaisuus, jossa etsittiin ja tutkittiin taiteen mahdollisuuksia vaikuttaa ja luoda vaikuttavuuden tiloja. T\u00e4m\u00e4 ekspositio k\u00e4sittelee taiteen vaikuttavuutta k\u00e4sittelev\u00e4\u00e4 taiteellista tutkimustani, jonka toteutin festivaalin osana. Sovelsin tutkimuksessa tohtorinty\u00f6ni metodia, videokuvan sukupolvittelua (Generational filming). Haastatteluissa tiedustelin festivaalin tekij\u00f6iden ja osallistujien n\u00e4kemyksi\u00e4 festivaalin vaikuttavuudesta. Haastattelin heit\u00e4 sek\u00e4 ennen tapahtumaa ett\u00e4 sen j\u00e4lkeen. J\u00e4lkimm\u00e4isess\u00e4 haastattelussa kukin haastateltava n\u00e4ki koosteen edellisest\u00e4 kerrasta ja reflektoi aiempia kommenttejaan. Projektin lopussa j\u00e4rjestimme ty\u00f6pajan, jossa keskusteltiin taiteen vaikuttavuudesta kuvaamieni videoiden pohjalta. \n\nTutkimuskysymykseni nousevat saamastani ty\u00f6teht\u00e4v\u00e4st\u00e4: Mit\u00e4 videokuvan sukupolvittelun avulla voi kertoa festivaaliin osallistuvien n\u00e4kemyksist\u00e4 taiteen vaikuttavuudesta? Mit\u00e4 metodi tuo esiin taiteen vaikutuksesta festivaalin osallistujiin? Mill\u00e4 tavalla metodi tuo esiin osallistujien n\u00e4kemyksi\u00e4 taiteen yhteiskunnallisesta merkityksest\u00e4? Millaista itsereflektiota metodi synnytt\u00e4\u00e4? Vaikuttavatko videoidut haastattelut kokemukseen taiteesta? Mit\u00e4 metodi tuo esiin taiteen mitattavuudesta? Mit\u00e4 taiteellinen l\u00e4hestymistapa tuo taiteen vaikuttavuuden tutkimiseen?<\/jats:p>","DOI":"10.22501\/ruu.732408","type":"journal-article","created":{"date-parts":[[2020,6,8]],"date-time":"2020-06-08T03:30:10Z","timestamp":1591587010000},"source":"Crossref","is-referenced-by-count":0,"title":["taiteen vaikuttavuus"],"prefix":"10.22501","author":[{"family":"Pekka Kantonen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:00:16Z","timestamp":1727193616000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/732408\/732409"}},"issued":{"date-parts":[[2020,6,15]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.732408","published":{"date-parts":[[2020,6,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:17Z","timestamp":1727238737068},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2011,11,20]]},"abstract":"The exposition of practice-based research is focused on using moving image installation to reflect upon our relationship to architecture. Through a site-specific practice, existing architectural elements are re-framed, re-focused and projected back onto themselves \u2014 either through the content of the moving image, or the construction of the installation. The exposition considers what this series of works have revealed about the use of moving image installation to reflect upon our relationship to architecture; particularly the possibility of creating tension between the architecture and the image, as well as the self in space.<\/jats:p>","DOI":"10.22501\/jar.11076","type":"journal-article","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T22:37:04Z","timestamp":1497998224000},"source":"Crossref","is-referenced-by-count":1,"title":["Expanded Architecture 01-06"],"prefix":"10.22501","author":[{"family":"Sarah Breen Lovett","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:22Z","timestamp":1727193262000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/11076\/11077"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/jar.11076","published":{"date-parts":[[2011,11,20]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:18Z","timestamp":1727238678279},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,2]]},"abstract":"CARLOTTA PUPULIN\nBaroque Harp\nSupervisor: Dr. In\u00eas de Avena Braga\n\nTitle: Angelical music for a New World\n\nResearch question: How did music develop in Hispanic America between the XV-XVII centuries?<\/jats:p>","DOI":"10.22501\/koncon.545314","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:41:29Z","timestamp":1725921689000},"source":"Crossref","is-referenced-by-count":0,"title":["Angelical music XVI-XVIII centuries music from the New World"],"prefix":"10.22501","author":[{"family":"Carlotta Pupulin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:55Z","timestamp":1727193415000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/545314\/730004"}},"issued":{"date-parts":[[2020,6,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.545314","published":{"date-parts":[[2020,6,2]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:18Z","timestamp":1727238678297},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,5,28]]},"abstract":"Name: Laura Ginstr\u00f6m\nMain subject: Ensemble Singing\nSupervisor: Gerda van Zelm\n\nTitle of research: Singing and Well-being - The Experiences of Professional Choir Singers\n\nResearch question: How do professional choir singers describe the effects of singing and the professional life on their well-being, and what is the importance and effect of singing-related well-being for my own artistic development?\n\nSummary of results:\nSinging in choirs has been an integral part of my life, and I have personally experienced enjoyable physical sensations, positive emotions and social bonding associated with choir singing. Researching this topic further, I learned that these experiences can be described as singing-related well-being. According to a growing number of studies amateur choir singing produces various beneficial effects on health and well-being. Research on professional singers about their experiences and occupational well-being has been much scarcer. Based on the limited studies, they might not enjoy all of the same benefits of singing as amateurs do. The goal of this research was to start closing this research gap and to learn what professional choir singers have to say about singing-related well-being. I created an online questionnaire to gather experiences from professional singers, and also kept a diary of my own well-being experiences during professional choir projects. Analysing these two sources of data revealed that professional singers did recognise many of the well-being experiences associated with singing. However, professional choir singing was not perceived as something especially relaxing or therapeutic, which are common themes emerged from research on amateurs. The social aspects of choir work were deemed important in experiencing singing-related well-being, as well as the conductor\u2019s artistic approach. For me personally, these well-being experiences have been the motivation for my career choice and for this research, and they also serve as an indicator of my development as a musician. \n\nThe format of this research is a thesis.\n\nBiography:\nLaura Ginstr\u00f6m (1992) is a Finnish mezzo-soprano who has studied vocal pedagogy and clinical psychology in Helsinki. Her love for choir singing brought her to The Hague, where she started in the new Master Specialisation Ensemble singing at The Royal Conservatoire in 2018. She currently studies with Noa Frenkel and sings projects with The Netherlands Chamber Choir as a part of the master\u2019s course. She is passionate about combining her two careers in singing and psychology, being particularly interested in the beneficial effects of singing on the body and the mind.<\/jats:p>","DOI":"10.22501\/koncon.541558","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:41:45Z","timestamp":1725921705000},"source":"Crossref","is-referenced-by-count":0,"title":["Singing and Well-being - The Experiences of Professional Choir Singers"],"prefix":"10.22501","author":[{"family":"Laura Ginstr\u00f6m","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:00Z","timestamp":1727193420000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/541558\/725967"}},"issued":{"date-parts":[[2020,5,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.541558","published":{"date-parts":[[2020,5,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:19Z","timestamp":1727238679827},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,7,14]]},"abstract":"Name: Karst de Jong\nMain subject: Music Theory & Improvisation\nResearch coaches: Michiel Schuijer & Thomas Noll\nTitle of research: Navigating through Harmony\n\nResearch question: \nHow can spatial representation of harmony contribute to the understanding and teaching of harmonic progressions in tonal improvisation? And does the application of the directional approach provide an effective navigation tool for the improviser while shaping the harmony? \u2028\n\nSummary of results:\nThe navigation system can help in the choice of logical harmonic progressions while improvising. As a navigation tool it allows harmonic movement to be felt as opposed to calculated. As a tool for invention, the arrows challenge the obvious progressions one makes habitually as an improviser and one develops a sense of the basic movements in harmony: prolongation, movement and consolidation. It is clear that a simpler organization of harmony in the improviser's mind stimulates an active imagination, stands less in the way of the creative process, and leaves more time to anticipate what lies ahead. The research experiences have reconfirmed the importance of playing with one's ears wide open while improvising. As a teaching tool the directional approach is promising, although new materials have to be developed. This is work in progress. Clearly this research is not finished here. The next step is to take the results as a starting point for changes in the teaching of improvisation. One wish is to integrate the directional ideas with certain elements from the Partimento tradition. Then there is further research needed on the relationship between the upper structures and the underlying fundamental melody, dealing with stylistic elements such as chord forms and voice leading. The presentation has the format of a report (45 minutes) as it is in fact a portfolio of many activities leading up to this very moment, including a case study and experiments with teaching an ensemble. The presentation will consist of a summary of the theoretical background, followed by improvisations played on the piano and by an ensemble to demonstrate the ideas behind the directional approach.\n\nBiography\nKarst de Jong\u00a0studied Classical Piano with Geoffrey Douglas Madge and Music Theory at the Royal Conservatoire of The Hague and started teaching early at the conservatoires of Amsterdam and The Hague. In 2003 he was appointed professor of composition techniques and improvisation at the ESMUC in Barcelona, and has since been pursuing the practice of improvisation as an integral part of the curricula of higher music education. He has given many concerts with improvisations for solo piano or with ensembles in Europe, China and Japan. He taught in many international festivals, among them the International Chamber Music Festival Schiermonnikoog, the Piano-Pic Festival in Bagneres de Bigorre and the Paul Badura Skoda Vila-seca Music Festival in Spain. In 2012 he released his first solo CD with improvisations entitled \"Improdisiac\". Karst de Jong currently lives in Barcelona.<\/jats:p>","DOI":"10.22501\/koncon.131067","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:48:18Z","timestamp":1725922098000},"source":"Crossref","is-referenced-by-count":0,"title":["Navigating through Harmony"],"prefix":"10.22501","author":[{"family":"Karst de Jong","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:24Z","timestamp":1727193504000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/131067\/131068"}},"issued":{"date-parts":[[2015,7,14]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/koncon.131067","published":{"date-parts":[[2015,7,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:23Z","timestamp":1727238683465},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,6,14]]},"abstract":"Weather is not an object experienced from a distance, but rather a medium in which every living being is immersed. This weather reporting views clouds as 'containers of possibility,' as an infrastructure for thinking about the body as a vibrant, experiential and living matter to reinforce a direct relation to nature - merging land and sky. Because environmental commitments are complex, I enter the challenge through exploring embodied modes of inquiry into urban-making using a corporeal relation to clouds and atmosphere, exploring their common materiality through a day's workshop culminating into a performance (modes expressed as intermissions). The artistic research is grounded in a Butoh choreography practice called Body Weather, performing fabulations with clouds supported by theoretical roots in corporeal studies, vibrant materialities, environmental imagining, atmospheres and assembled relations. I engage with the question of how to curate a corporeal poetics in urban-making with clouds in mind, and what if bodily movements created atmospheres to ecologically live by? My intent is to cultivate an artistic embodied approach to urban-making, thinking through clouds and embracing the body as a refined medium for generating a poethic -poetic, political and ethical - entangle with space.<\/jats:p>","DOI":"10.22501\/ruu.453323","type":"journal-article","created":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T09:48:49Z","timestamp":1560505729000},"source":"Crossref","is-referenced-by-count":0,"title":["Body Weathering - poetic nebular intentions"],"prefix":"10.22501","author":[{"family":"Anna Maria Orru","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:51Z","timestamp":1727193711000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/453323\/453324"}},"issued":{"date-parts":[[2019,6,14]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/ruu.453323","published":{"date-parts":[[2019,6,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:24Z","timestamp":1727238684216},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2013,12,8]]},"abstract":"In my article \u2018Symbols of the Experience\u2019, I will approach artistic research through the relationship of a musical idea and the notation of it. How can experimental musical ideas be translated to notation, so that other musicians can understand the notation in a similar way? How does the tradition of notation guide me as a composer? How have workshops with other musicians guided my way of notating music? In this article, I will focus on the relationship between the notation and what is sounding \u2013 in general and with reference to my own work.<\/jats:p>","DOI":"10.22501\/ruu.31912","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T08:24:42Z","timestamp":1503649482000},"source":"Crossref","is-referenced-by-count":0,"title":["Kokemuksen symbolit \u2013 pohdintoja nuotinnoksen ja soivan v\u00e4lisest\u00e4 suhteesta"],"prefix":"10.22501","author":[{"family":"Pasi Lyytik\u00e4inen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:04:40Z","timestamp":1727193880000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/31912\/31913"}},"issued":{"date-parts":[[2013,12,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ruu.31912","published":{"date-parts":[[2013,12,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:32Z","timestamp":1727238632969},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,18]]},"abstract":"Name: Klaske de Haan\n\nMain Subject: Master Music Education According to the Kod\u00e1ly concept.\n\nResearch Supervisors: Suzanne Konings and Herman Jeurissen\n\nTitle of research: \nFrom Aural Teaching to Musical Literacy in the Elementary Horn Class\nFirst steps to a Kod\u00e1ly inspired horn method.\n\nResearch Question: \nHow to develop a methodology for the beginning horn player, from an aural approach to musical literacy? \n\nSummary of Results:\nThe Netherlands and Germany are almost the only countries where children start playing the B flat horn instead of the F horn because of the rich culture of wind bans. There are almost no horn methods based on the harmonics of the B flat horn. The traditional instrumental music lesson is mainly based on reproducing: a certain image on paper matches a fitting fingering thus producing the matching sound. When the sound is not matching the image than the teacher corrects this sound. I noticed that the children could play well when playing by themselves, but when they played together with other instruments they could easily play the whole phrase on the wrong pitch (wrong harmonics) but with the right fingerings. The horn is an instrument based on harmonic overtone series. Finding the logical steps on the valves of the horn is very difficult. Woodwind players have a logical system on the instrument playing diatonic series like do re mi. For the horn, with 3 valves, there is not a logical sequence playing diatonic series. This made me realize that some changes in the methodology are necessary for the horn to make an aural approach more logical for the beginning horn player. It also did me realize how extremely important it is for the young horn player to develop the inner hearing very well and make the logical steps from sound to symbol. My research paper investigates the possibilities to develop musical literacy in the horn lesson but also in the instrumental group lesson with transposing instruments. My main conclusion is that it is very important to make singing and moving a part of the horn lesson in order to develop inner hearing in relation to the horn. In that way the music will be understand and musical literacy can be developed.\n\n\nBiography:\nKlaske de Haan studied horn at The Royal Conservatoire in The Hague and at the Fontys Conservatoire in Tilburg with Herman Jeurissen. She graduated in 2000 for her diploma Uitvoerend Musicus. \nAs a free lance horn player Klaske worked with several professional orchestras in the Netherlands for example The Residentie Orchestra. Klaske is a horn teacher at the Music school, Scholen in de Kunst, in Amersfoort and she works at the Royal Conservatoire at The Hague with BASIS. A new music program for young wind players.\nFrom 2014 Klaske specializes in Music education and pedagogy by attending several course such as \u201cmuziek als vak\u201d.<\/jats:p>","DOI":"10.22501\/koncon.222446","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:44:37Z","timestamp":1725921877000},"source":"Crossref","is-referenced-by-count":0,"title":["From Aural Teaching to Musical Literacy in the Elementary Horn Class"],"prefix":"10.22501","author":[{"family":"Klaske de Haan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:34Z","timestamp":1727193454000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/222446\/222447"}},"issued":{"date-parts":[[2017,9,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.222446","published":{"date-parts":[[2017,9,18]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:33Z","timestamp":1727238633480},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,5,27]]},"abstract":"Name: Alistair Sung\n\nMain Subject: Classical Cello\n\nResearch Coaches: Gerard Bouwhuis, Renee Jonker\nTitle of Research:\nPerforming Classical Music in the 21st Century\n\nResearch Question:\nCan a reconsideration of presentation, programming and audience relationship influence\nthe response to classical music?\n\nSummary of Results:\nThe financial and cultural climate of the past 50 years has changed the way in which\nclassical music is perceived. Where once it was valued as a crucial part of a healthy\nsociety, it has now grown isolated from mainstream culture and has been relegated to the\nperiphery of modern cultural life. This paper will examine how these recent cultural and\nsocial developments occurred and focus on their effects on the performance of classical\nmusic in the 21st century. Through an analysis of new and existing approaches to\nperformance, a framework will be established which will form the basis of a test concert.\nData gained from this concert will then be analysed in order to explore the possibility of\naltering existing concert conventions to respond to the problems facing the performance\nof classical music. Research will be presented in the form of a research paper.\nBiography:\nAlistair began learning the cello in Sydney Australia with Marcus Hartstein and David\nPereira. After attending Newtown High School of Performing Arts, Alistair completed\nhis Bachelor Music (honours I)\/Bachelor Arts (philosophy) at the University of New\nSouth Wales in 2010. On graduating, Alistair was awarded the university medal and his\nhonours thesis, \u2018Variety in Performance: A Comparative Analysis of Recorded\nPerformances of Bach\u2019s Sixth Suite for Solo Cello\u2019 was co-published in the Empirical\nMusicology Review (Ohio State University). Alistair is currently completing a Masters\ndegree at the Koninklijk Conservatorium in The Hague with Larissa Groeneveld.<\/jats:p>","DOI":"10.22501\/koncon.81827","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:49:06Z","timestamp":1725922146000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing Classical Music in the 21st Century"],"prefix":"10.22501","author":[{"family":"Alistair Sung","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:29Z","timestamp":1727193509000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/81827\/81828"}},"issued":{"date-parts":[[2015,5,27]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.81827","published":{"date-parts":[[2015,5,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:33Z","timestamp":1727238633610},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,4,27]]},"abstract":"This exposition examines my recent multi-channel sound composition 'Decomposing Landscape' (2015), inquiring into the complex, nebulous, and evolving relationship between sound and site that is thoroughly challenged in the practice of phonography or field-recording-based sound artworks dealing with environmentally troubled sites. Phonography-based compositions and sound artworks are developed through location-aware listening and field recordings made at specific sites and landscapes. The compositional strategy in these works relies on artistic interventions through the intricate processes of field recording and processing of recognisable environmental sounds using multi-channel spatialisation techniques. The artistic transformation renders these sounds into a blurry area between compositional abstraction and a portrayal of their site-based origins. The question is, how much spatial information is retained and how much abstraction is deployed in these sound artworks? A discussion of this work sheds light on some approaches and a methodology of handling site-specific evidence in sound art production.<\/jats:p>","DOI":"10.22501\/jar.281999","type":"journal-article","created":{"date-parts":[[2017,4,20]],"date-time":"2017-04-20T18:44:29Z","timestamp":1492713869000},"source":"Crossref","is-referenced-by-count":0,"title":["Talking field: listening to the troubled site"],"prefix":"10.22501","author":[{"family":"Budhaditya Chattopadhyay","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:07Z","timestamp":1727193187000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/281999\/282000"}},"issued":{"date-parts":[[2017,4,27]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/jar.281999","published":{"date-parts":[[2017,4,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:33Z","timestamp":1727238633846},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2015,3,24]]},"abstract":"The predominant cultural tradition prioritises humankind and human culture above all other life forms \u2013 a linear, anthropocentric narrative wherein the human appears as the latest, most developed draft of life in a grand opera of consciousness; the opera begins with the origin of a universe that has since continued until now, forward from the darkest beginning of A to an elusive horizon of B: that spot in the distance that shall never be reached. The following exposition reflects notes, quotations, and autobiographical incidents that muddle this mythology. This assemblage of sources composes a constellation without beginning, centre, or end in an effort to enact a more general and omniscient intellectual environment that highlights the longstanding hierarchical expectations inherent in the Western world.<\/jats:p>","DOI":"10.22501\/jar.55614","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T18:38:35Z","timestamp":1492454315000},"source":"Crossref","is-referenced-by-count":0,"title":["Ghost Nature"],"prefix":"10.22501","author":[{"family":"Caroline Picard","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:34Z","timestamp":1727193214000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/55614\/55626"}},"issued":{"date-parts":[[2015,3,24]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/jar.55614","published":{"date-parts":[[2015,3,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:36Z","timestamp":1727238636855},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,15]]},"abstract":"As a composer, you are free to create, and often the melodic choices, the harmonic solutions are the result of something truly personal. The colors found within a piece are the representation of what the composer feels and wants to put on paper, he is free to express a concept without being bound by any kind of expectations or rules.\nIn this project, I am exploring the ways in which I can integrate and use Keith Jarrett\u2019s improvisations as material for writinf for large jazz ensembles. To answer this question I learned about his life, his philosophy in music and how his musical style developed through the years, to get along with his musical idea and try to respect his first intention.\nAnd to prepare myself for start writing the re-composition I analyzed the transcription of the Concert in K\u00f6ln, seeing how he approached the improvisation and how he used the musical elements such as the construction of the melody, the use of the rhythm and the harmonic background; all elements that I used in my work.\nThe project demonstrates that even if is working on an improvisation, which offers such a varied material and is developed without an apparent fixed structure, it is possible to recreate compositions that have a coherence; also respecting the intention and the sound context that characterized that moment.\n\n(cover art designed by Barbara Wojirsch, copyright believed to be owned by ECM).<\/jats:p>","DOI":"10.22501\/koncon.1964410","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:48Z","timestamp":1725921468000},"source":"Crossref","is-referenced-by-count":0,"title":["Keith Jarrett: The K\u00f6ln Concert, re-composition for a big ensemble"],"prefix":"10.22501","author":[{"family":"Stefano Gullo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:46Z","timestamp":1727193346000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1964410\/1964411"}},"issued":{"date-parts":[[2023,5,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1964410","published":{"date-parts":[[2023,5,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:36Z","timestamp":1727238636523},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2022,9,30]]},"abstract":"This exposition brings together Artistic Research, Science and Technology Studies and Queer Marxism to examine the gestural nature of reproductive politics. It argues for an expansive understanding of the gesture that extends well beyond the domain of the embodied gesture to include different registers and materialities of cultural and scientific inscription. Broadly, I explore reproductive politics not only as a question of reproductive health \u2013of access and choice\u2013 but as the daily negotiation of the body\u2019s value and legibility across communication, labour and political fields. By questioning -through artistic action- the inevitability of the economic and social conditions that devalue or invisibilise reproductive work, this article also elaborates on the gestural nature of artistic research as counter-institutional practice.<\/jats:p>","DOI":"10.22501\/ruu.1400064","type":"journal-article","created":{"date-parts":[[2022,9,30]],"date-time":"2022-09-30T10:37:44Z","timestamp":1664534264000},"source":"Crossref","is-referenced-by-count":0,"title":["Gestures and Inscriptions in Ceramics and Sound: A combined STS, Queer Marxist and Artistic Research approach to the study of Reproductive Politics"],"prefix":"10.22501","author":[{"family":"Rebecca Close","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:19Z","timestamp":1727193559000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1400064\/1400065"}},"issued":{"date-parts":[[2022,9,30]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1400064","published":{"date-parts":[[2022,9,30]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:38Z","timestamp":1727238638430},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,11,9]]},"abstract":"The internet is a promising place for musicians; one can promote and perform music for free, with possibly endless reach. Especially online video and streaming are booming spaces with many opportunities. Online music videos are often either recordings of a live performance, or they are an \"online performance\" from a musician who acts as if they are part of a regular live concert with an audience. However, the practices of regular concerts and online video are very different in nature. Perhaps online video requires a different way of engaging with the musical material within the video format. What if classical musicians created videos that emphasized the more casual and chatty style of the online platforms?\nThrough an iterative process I researched how classical musicians can use the vlog-style format with classical music and music theatre. In these vlogs I draw inspiration from the book \"Three in Norway by Two of Them\" and combine it with music by Julius R\u00f6ntgen and Edvard Grieg. From this process I drew some conclusions and came up with a process for other musicians to try out this video format.<\/jats:p>","DOI":"10.22501\/koncon.1177617","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:39:21Z","timestamp":1725921561000},"source":"Crossref","is-referenced-by-count":0,"title":["One in Norway by One of Them: Vlogging for Classical Musicians"],"prefix":"10.22501","author":[{"family":"Ursula Skaug","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:24Z","timestamp":1727193384000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1177617\/1177618"}},"issued":{"date-parts":[[2021,11,9]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1177617","published":{"date-parts":[[2021,11,9]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:38Z","timestamp":1727238638403},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,15]]},"abstract":"Ornamenting baroque da capo arias is crucial for the historically informed singer. However, the choice of ornaments should do more than fit the affects portrayed in a given piece: it should emphasize their expression and move the affections of the audience. In Mattheson\u2019s Der vollkommene Capellmeister it is suggested that rhetorical figures can be of good use as ornaments. Out of the abundant number of figures listed by theorists associated with the movement of the German Musica Poetica, only a few have simultaneously an affective meaning and can be applied to a pre-existing melody. This research explores some of the existing ornamented melodies by G. F. H\u00e4ndel and singers from the time of the composer to understand how these ornaments can be linked with figures from rhetoric, and how they assist in the expression of the text. This research associates rhetorical figures and manieren with general affects and demonstrates its practical use in selected operatic repertoire by G. F. H\u00e4ndel. This study aims to enhance the author\u2019s aesthetic choices while performing, and furthermore encourage other singers to use ornamentation effectively in similar repertoire.<\/jats:p>","DOI":"10.22501\/koncon.545103","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:41:06Z","timestamp":1725921666000},"source":"Crossref","is-referenced-by-count":0,"title":["Rethinking ornamentation : a rhetorical approach to da capo arias of Georg Friedrich H\u00e4ndel"],"prefix":"10.22501","author":[{"family":"Francisca Prestes Branco Gouveia","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:54Z","timestamp":1727193414000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/545103\/804641"}},"issued":{"date-parts":[[2020,6,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.545103","published":{"date-parts":[[2020,6,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:38Z","timestamp":1727238638790},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,23]]},"abstract":"The solo clarinet compositions of Antonio Casimir Cartellieri (1772-1807) are comparatively unknown in these days, although during his lifetime his works were widely acclaimed in the Viennese Court.\n\nThis research has a threefold purpose: Reconstructing the life of Antonio Casimir Cartellieri; locating and procuring as many of Cartellieri\u2019s works as possible; studying the selected compositions; assessing both his historical role in the clarinet repertory and the value of his compositions for the instrument. \nThe results are presented in three chapters. The first one contains a biography of Cartellieri, the second deals with Cartellieri\u2019s repertoire and the last chapter, the most important, contains the analysis of the clarinet solo works.\n\nObservation upon Cartellieri\u2019s compositional style and treatment of the clarinet will be drawn from the analysis of the four clarinet concertos and the four clarinet quartets. With regards to the nowadays clarinet performer, Cartellieri\u2019s compositions serve as a model representing the best traits of the late eighteenth-century wind virtuoso school. Furthermore, they provide a repertory bridging the gap between the old style of Stamitz and Mozart, and the new style of Weber, and Spohr.\n\nThe concertos and the quartet are excellent training pieces for clarinet students, showing formal characteristics of the period. They are pleasant, charming, and unassuming works of the chamber genre, idiomatically suited for the solo instrument, emphasizing directness and balance of conventional structure. Cartellieri\u2019s works were undoubtedly fashionable vehicles for displaying the Viennese Clarinets virtuosos. They possess a high degree of musical craftsmanship with moments of true musical inspiration.<\/jats:p>","DOI":"10.22501\/koncon.541546","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:40:55Z","timestamp":1725921655000},"source":"Crossref","is-referenced-by-count":0,"title":["Antonio Casimir Cartellieri: a forgotten master at the Viennese Court"],"prefix":"10.22501","author":[{"family":"Elia Celegato","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:48Z","timestamp":1727193408000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/541546\/541547"}},"issued":{"date-parts":[[2020,6,23]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.541546","published":{"date-parts":[[2020,6,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:42Z","timestamp":1727238642570},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,8]]},"abstract":"Situating Practices was a research-led exhibition (17.05.19- 01.06.19) as part of the Temporary Contemporary programme in Huddersfield, West Yorkshire. The exhibition was a showcase of the practice-based research work of nine postgraduate researchers from the University of Huddersfield and other higher education institutions.\n\nIt explored what it means to do research in, with and through practice and the potential new configurations of knowledge that is produced through their display, this included artist practitioners, architects and researchers working at the boundaries of social science and creative practice. \n\nThis exposition questions the concept of \u201ccurating research\u201d (O'Neill & Wilson, 2015) from an ecological perspective, considering the interdependent, emergent and developing relations and tensions when curating research for public display in the context of the Situating Practices exhibition.<\/jats:p>","DOI":"10.22501\/ruu.650750","type":"journal-article","created":{"date-parts":[[2020,6,8]],"date-time":"2020-06-08T03:29:43Z","timestamp":1591586983000},"source":"Crossref","is-referenced-by-count":0,"title":["Situating Practices: An ecological approach to exhibition making"],"prefix":"10.22501","author":[{"family":"Claire Robyn Booth-Kurpnieks","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Louise Atkinson","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:00:47Z","timestamp":1727193647000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/650750\/820446"}},"issued":{"date-parts":[[2020,6,8]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.650750","published":{"date-parts":[[2020,6,8]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:42Z","timestamp":1727238642571},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"Exploring a case of a historian collaborating with dance makers on the contemporaneity evident in a past work, this exposition outlines how the corporeal methods of dance practice can assist a historian in their archival inquiry just as the historian's methods can subvert dominant ways of understanding re-performance of past dance. Interest in how past performances survive and are made to re-signify in the present and what is the role of the archive in a performing art are growing trends in both dance and performance scholarship and in performance practice. Drawing from this scholarship and critical performances, I distinguish between reconstruction (re-creation of dance from the archive) and re-imagining (working from the present practice towards corporeal relationship to past dance) to argue that any performance holds potential to uphold and conserve as well as question and subvert predominant histories of the art form. In contrast to theories of performance that juxtapose performance with history, repertoires with archives, I argue that it is possible to perform the epistemological questions through emphasis on what is not known. The practical exercises used in the studio and the strategies in the performance of Jeux: Re-imagined (2016) offer one example of destabilizing earlier claims to knowledge about a historical work. The seven pages of this exposition follow the structure of the seven events of the performance.<\/jats:p>","DOI":"10.22501\/ruu.520080","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T11:36:06Z","timestamp":1558611366000},"source":"Crossref","is-referenced-by-count":0,"title":["Re-imagining: A Case Study of Exercises and Strategies"],"prefix":"10.22501","author":[{"family":"Hanna J\u00e4rvinen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:18Z","timestamp":1727193738000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/520080\/521401"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.520080","published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:56Z","timestamp":1727238716755},"posted":{"date-parts":[[2023,11,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Prueba tarea<\/jats:p>","DOI":"10.22501\/rc.2364887","type":"posted-content","created":{"date-parts":[[2023,11,5]],"date-time":"2023-11-05T22:12:20Z","timestamp":1699222340000},"source":"Crossref","is-referenced-by-count":0,"title":["Elevator pitch"],"prefix":"10.22501","author":[{"family":"Juan David V\u00e9lez Aristiz\u00e1bal","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:08Z","timestamp":1727192528000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2364887\/2364888"}},"issued":{"date-parts":[[2023,11,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2364887","published":{"date-parts":[[2023,11,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:00Z","timestamp":1727238720179},"posted":{"date-parts":[[2023,12,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Abstract: (in Finnish below)\n\nTHE THIRD WORLD ECOLOGY TRILOGY: Postcoloniality, Embodiment and Ecology \nBy Rania Lee Khalil, University of Arts Helsinki, Theatre Academy \n\nThe Third World Ecology Trilogy is a moving image performance and artistic research project by Rania Lee Khalil which investigates the harms of colonialism across interspecies habitats in Palestine, Egypt and the continent of Africa more broadly, at a time of widespread anticolonial revolutions in the mid 20th century. This doctoral thesis uses the artists' video and familial archives to remember third world feminist and indigenous movements instructive to ecological thought and artistic research in the present. It outlines the development of the artists' embodied image making methodology central to this research. \n\nThe Third World Ecology Trilogy is accompanied by three published articles which discuss each section individually. The trilogy consists of Palestinian Wildlife Series: an experimental video performance centering images of African animals shot from a television set in Palestine, to reflect on parallel themes of mediation, displacement and extinction. Its 2016 article in The Journal of Artistic Research chronicles the artist\u2019s research into the plants and people of Palestine via experimental film theory, posthuman and postcolonial thought. The Pan African Asian Women\u2019s Organization, Cairo to Conakry, 1960-1965 chronicles the cofounding of an organization of the same name, by Khalil\u2019s maternal grandmother, Aida Hamdi. Its 2018 article in the journal Performance and Otherness, reflects on the use of personal and political images in performance, recalling obscured histories through her grandmothers\u2019 images and comrades, who included Djamilla Bourhired and Zohra Drif, heroines of the 1962 Algerian revolution. The final piece in this trilogy, Sinai, a story i tell my daughter, is a video essay which considers a parallel dimension to earth where all of its tragedies never happened. Created within the underwater landscape of Sinai, Egypt\u2019s Bedouin ancestral lands, its 2021 article in The Journal of Embodied Research considers endangered marine life in relation to tourism, within the framework of colonial and neocolonial development. Revisiting original outtakes, this video article reflects on disappearing interspecies life and cultures, through the artist\u2019s extensive embodied research. \n\nIndex: (keywords) Postcolonial; Palestine; Movement; Moving Image; Ecology \nTHE THIRD WORLD ECOLOGY TRILOGY: \u2028Postcoloniality, Embodiment and Ecology\nRania Lee Khalil, Taideyliopisto, Teatterikorkeakoulu \n\nThird World Ecology Trilogy on Rania Lee Khalilin liikkuvaa kuvaa k\u00e4ytt\u00e4v\u00e4 esityskokonaisuus ja taiteellinen tutkimushanke, jossa tutkitaan kolonialismin aiheuttamia haittoja lajien v\u00e4lisiss\u00e4 elinymp\u00e4rist\u00f6iss\u00e4 Palestiinassa, Egyptiss\u00e4 ja Afrikan mantereella 1900-luvun puoliv\u00e4liss\u00e4 tapahtuneiden laajamittaisten antikoloniaalisten vallankumousten aikana. Ty\u00f6ss\u00e4 hy\u00f6dynnet\u00e4\u00e4n taiteilijan video- ja perhearkistoja kolmannen maailman feminististen ja alkuper\u00e4iskansaliikkeiden muistamisessa. N\u00e4m\u00e4 liikkeet ovat nykyp\u00e4iv\u00e4n\u00e4kin merkityksellisi\u00e4 sek\u00e4 ekologiselle ajattelulle ett\u00e4 taiteelliselle tutkimukselle. Ty\u00f6ss\u00e4 kehitet\u00e4\u00e4n my\u00f6s tutkimuksen kannalta keskeist\u00e4 kehollista kuvantekomenetelm\u00e4\u00e4.\u00a0\n\nTrilogiaan liittyy kolme erillist\u00e4 julkaistua artikkelia. Trilogia koostuu Palestinian Wildlife Series -sarjasta, joka on kokeellinen videoperformanssi, jossa keskityt\u00e4\u00e4n palestiinalaisesta televisiol\u00e4hetyksest\u00e4 poimittuihin kuviin afrikkalaisista el\u00e4imist\u00e4, ja pohditaan yht\u00e4aikaisia v\u00e4littymisen, syrj\u00e4ytt\u00e4misen ja sukupuuttoon kuolemisen teemoja. Siihen liittyv\u00e4ss\u00e4, vuonna 2016 Journal of Artistic Research -julkaisussa ilmestyneess\u00e4 artikkelissa tutkimuksen kohteina olivat palestiinalaiset kasvit ja ihmiset kokeellisen elokuvateorian sek\u00e4 j\u00e4lkihumanistisen ja postkolonialistisen ajattelun kautta. The Pan African Asian Women\u2019s Organization, Cairo to Conakry, 1960\u20131965 kertoo Khalilin \u00e4idinpuoleisen iso\u00e4idin, Aida Hamdin, perustamasta samannimisest\u00e4 j\u00e4rjest\u00f6st\u00e4. Vuonna 2018 N\u00e4ytt\u00e4m\u00f6 & tutkimus -julkaisussa ilmestyneess\u00e4 artikkelissa pohditaan henkil\u00f6kohtaisten ja poliittisten kuvien k\u00e4ytt\u00f6\u00e4 esityksess\u00e4 ja palautetaan mieliin h\u00e4m\u00e4rtyneit\u00e4 tarinoita tutkijan iso\u00e4idin kuvien ja yst\u00e4vien kautta, joihin kuuluivat Algerian vuoden 1962 vallankumouksen sankarit Djamilla Bourhired ja Zohra Drif. Trilogian viimeinen osa, Sinai, a story i tell my daughter, on videoessee, jossa tarkastellaan maapallon rinnakkaista ulottuvuutta, jossa mik\u00e4\u00e4n sen tragedioista ei koskaan toteutunut. Artikkeli ilmestyi vuonna 2021 The Journal of Embodied Research -julkaisussa. Sen tapahtumaymp\u00e4rist\u00f6n\u00e4 on Siinain, Egyptin beduiinien esi-isien maiden, vedenalainen maisema, ja siin\u00e4 tarkastellaan matkailun vaikutusta uhanalaiseen meriel\u00e4m\u00e4\u00e4n kolonialistisen ja uuskolonialistisen kehityksen puitteissa. T\u00e4ss\u00e4 videoartikkelissa k\u00e4ytet\u00e4\u00e4n tutkijan kuvaamia videoaineistoja ja pohditaan katoavaa lajien v\u00e4list\u00e4 el\u00e4m\u00e4\u00e4 ja kulttuureja laaja-alaisen kehollisen tutkimuksen kautta. \n\nHakemisto: (avainsanat) postkoloniaalinen; Palestiina; liike; liikkuva kuva; ekologia\u00a0<\/jats:p>","DOI":"10.22501\/rc.2369051","type":"posted-content","created":{"date-parts":[[2023,12,1]],"date-time":"2023-12-01T13:56:37Z","timestamp":1701438997000},"source":"Crossref","is-referenced-by-count":0,"title":["The Third World Ecology Trilogy: Postcoloniality, Embodiment, Ecology"],"prefix":"10.22501","author":[{"family":"Rania Lee Khalil","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:04Z","timestamp":1727192524000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2369051\/2418895"}},"issued":{"date-parts":[[2023,12,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2369051","published":{"date-parts":[[2023,12,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:00Z","timestamp":1727238720252},"posted":{"date-parts":[[2023,5,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"A personal testimony of artistic research\" \n\nPresented at RAPP Lab multiplier event: \u201cReflect & React. How Artistic Research Empowers Musicians and Performing Artists at Higher Education Institutions\u201d in HfMT K\u00f6ln (Cologne, DE) on Friday 12 May 2023.\n\nFunded by AEC - Association des Conservatoires, Acad\u00e9mies de Musique et Muzikhochschulen.<\/jats:p>","DOI":"10.22501\/rc.2150759","type":"posted-content","created":{"date-parts":[[2023,5,20]],"date-time":"2023-05-20T08:32:43Z","timestamp":1684571563000},"source":"Crossref","is-referenced-by-count":0,"title":["A personal testimony of artistic research"],"prefix":"10.22501","author":[{"family":"Ettore Cauvin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:43:01Z","timestamp":1727192581000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2150759\/2150758"}},"issued":{"date-parts":[[2023,5,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2150759","published":{"date-parts":[[2023,5,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:12Z","timestamp":1727238732450},"posted":{"date-parts":[[2014,9,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This essay looks to the idea that removing aesthetic character from art provokes an inherent natural way of sensing objects and events from our minds. This concept sees controlled meaningful content in art as the basis of intellectual values that work to suppress a view that only comes to mind when these values are absent from our thoughts. I am looking to see art as a tool that can be used to give recall of an innate inborn form of awareness that we inherit from our animal origins but now keep dormant in day-to-day awareness, and my assertion is that we have evolved to suppress this original experience through controlling how we create art through intelligent learned understanding. If an artist is unaware of this they will be working to suppress, rather than reveal, these old dormant powers of perception. I have used <i> A Note on the physical object hypothesis by Richard Wollheim<\/i> as the basis of this enquiry, and I am looking to understand that when an artist removes all controlled ways of working and intellectual ideas from what they do \u2013 by working through chance and accident \u2013 the end result creates a catalyst that triggers the return of our old ability to sense through animal instinct.<\/jats:p>","DOI":"10.22501\/rc.87559","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:54:41Z","timestamp":1498067681000},"source":"Crossref","is-referenced-by-count":0,"title":["Abating Aesthetic character"],"prefix":"10.22501","author":[{"family":"Christopher Hollins","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:20Z","timestamp":1727193020000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/87559\/87560"}},"issued":{"date-parts":[[2014,9,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.87559","published":{"date-parts":[[2014,9,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:14Z","timestamp":1727238734714},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,15]]},"abstract":"Much research has been done to better understand the emotional experience of music; from the philosophical, artistic, psychological, and statistical approaches. In this research we conduct a cross-domain experiment based on those four disciplines, to further understand the factors that influence the emotional perception of music; and in particular the difference between the artist\u2019s emotional conception and the audience\u2019s perception.\nIn the experiment we train a novel model of an Artificial Neural Network, to predict the perceived emotion from a short musical phrase. We then feed the machine curated input, which simulates artistic choices, to explore its most significant factors in determining the perceived emotions.\nIn the conclusion we describe the results, as well as the possible follow-ups to the experiment, such as an emotional expression training tool for musicians.<\/jats:p>","DOI":"10.22501\/koncon.1790959","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:32Z","timestamp":1725921452000},"source":"Crossref","is-referenced-by-count":0,"title":["Aimpathy"],"prefix":"10.22501","author":[{"family":"Amit Yungman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:40Z","timestamp":1727193340000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1790959\/1790960"}},"issued":{"date-parts":[[2023,5,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1790959","published":{"date-parts":[[2023,5,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:01Z","timestamp":1727238661574},"posted":{"date-parts":[[2024,5,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Informed by queer life practices, theories, and affinities, this documented artistic research project (doctoral thesis) draws from new materialist and post-humanist discourse in order to reconsider what role visual media play in the historical need to separate the human and the environmental. It asks, how do we challenge prevailing perceptions of film and photography as inexorably linked to ideas of progress and modernisation, to linear temporality, spatial separation, and to land-based thought? Based on the acknowledgement that we need to rethink our position as humans within the multiple habitats that make up the world, I investigate the ways in which the apparatus of film, rather than being an extension of human perception, attests to the material interdependences and co-productions that hold a potential for converging human and nonhuman perspectives. \"Tidal Zones \u2013 Filming Between Life and Images\" considers the cinematic space of the ocean alongside Jean Epstein\u2019s film \"Le Tempestaire\" (1947); it follows early photographic chemical methods involving seaweed to both develop film and to examine the technical intra-activity of human and nonhuman regimes as part of photography itself. Within the scope of this research, I argue and demonstrate how film engages in a sensory and reciprocal involvement with the material world, one that addresses the ability to sense, not just with one\u2019s eyes, but with the entire body.\n\n\"Tidal Zones\" are real locations, the habitat of a multitude of organisms, and the home of seaweeds. It is a place that is neither land nor sea but constitutes a zone with its own specific relationships and living conditions. In its refusal to be either or, it forms a (non-binary) temporal figuration between presence and absence, solid and liquid, life and death, dictated by the motions of spiral and circular time. This space, \"Between Life and Images\", is the chemical rockpool (the darkroom) out of which photography and film grew.\n\nThe PhD submission consists of four film-works, \"The Etna Epigraph\" (2022), \"Seaweed Film\" (2023), \"Coenaesthesis \u2013 It Is Not Even True That There Is Air Between Us\" (2023) and \"The Spiral Dramaturgy\" (2019) along with the exhibition \"The Tidal Zone\" shown at Index - The Swedish Con-temporary Art Foundation, Stockholm, from 25 November 2022 to 12 February 2023 and at Havremagasinet, L\u00e4nskonsthall Boden from 14 October 2023 to 11 February 2024. The films and documentation from the exhibitions are included in the submission, which also includes an \u201cOpening Letter\u201d and two texts called \u201cFilming with the Ocean\u201d and \u201cMethodology of the Spiral\u201d.\n\nThis dissertation has been carried out and supervised within the graduate programme in Visual Arts at the Royal Institute of Art. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malm\u00f6 Faculty of Fine and Performing Arts, Lund University, and the Royal Institute of Art regarding doctoral education in the subject Visual Arts.<\/jats:p>","DOI":"10.22501\/rc.2659625","type":"posted-content","created":{"date-parts":[[2024,5,2]],"date-time":"2024-05-02T14:03:21Z","timestamp":1714658601000},"source":"Crossref","is-referenced-by-count":0,"title":["Tidal Zones \u2013 Filming Between Life and Images"],"prefix":"10.22501","author":[{"family":"Kajsa Dahlberg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:15Z","timestamp":1727192475000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2659625\/2767303"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2659625","published":{"date-parts":[[2024,5,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:04Z","timestamp":1727238664657},"posted":{"date-parts":[[2023,5,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Previous researchers have found that the use of VOCs (Volatile Organic Compounds), carcinogens, and PFAS (per- and polyfluoroalkyl substances) in paints have led to a wide range of health issues. This led to the primary goal within my research in which I examined the extent to which the quality level of paint is affected by chemical levels and pricing through the use of interviews with manufacturers from different paint companies, as well as the extent to which regulations from the EPA (Environmental Protection Agency) and OSHA (Occupational Safety and Health Administration) have limited the amounts of chemicals in paints. From this, I found that most companies are only restricted in levels of VOC and carcinogenic use, rather than PFAS since they are a necessary component of most paints, including within the linseed oil of oil paints, the pigments of watercolors and the pigments and solution of acrylic paints. Additionally, I found that these chemicals can affect one if they touch the surface of the skin or are inhaled, meaning that even dry paintings or painted walls could be toxic. The outcome emphasizes the necessity of wearing a mask while using these products, using warning signs on consumer products, as well as educating artists and those who are exposed to paints consistently to stay cautious.<\/jats:p>","DOI":"10.22501\/rc.2128399","type":"posted-content","created":{"date-parts":[[2023,5,8]],"date-time":"2023-05-08T13:32:33Z","timestamp":1683552753000},"source":"Crossref","is-referenced-by-count":0,"title":["Governmental Regulations on Volatile Organic Compounds in Paint"],"prefix":"10.22501","author":[{"family":"Hajra Rahim","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:58Z","timestamp":1727192578000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2128399\/2128398"}},"issued":{"date-parts":[[2023,5,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2128399","published":{"date-parts":[[2023,5,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:05Z","timestamp":1727238665339},"posted":{"date-parts":[[2023,4,24]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"New Pixel \u00e9 uma combina\u00e7\u00e3o de dois conconceitos drasticamente diferentes. \"New\", de Times New Roman, para as suas serifas e para a diferen\u00e7a do peso da linha \u2013 caracter\u00edsticas tipogr\u00e1ficas bastante cl\u00e1ssicas. \"Pixel\", para as fontes pixelizadas que, embora apelem ao universo dos videojogos retro, continuam a ser fontes que representam a uma nova era digital e moderna.<\/jats:p>","DOI":"10.22501\/rc.2090788","type":"posted-content","created":{"date-parts":[[2023,4,24]],"date-time":"2023-04-24T00:18:37Z","timestamp":1682295517000},"source":"Crossref","is-referenced-by-count":0,"title":["New Pixel"],"prefix":"10.22501","author":[{"family":"Joana Tavares","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:43:22Z","timestamp":1727192602000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2090788\/2095552"}},"issued":{"date-parts":[[2023,4,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2090788","published":{"date-parts":[[2023,4,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:07Z","timestamp":1727238667827},"posted":{"date-parts":[[2020,8,29]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Publikacja stanowi prezentacj\u0119 prac podejmuj\u0105cych temat up\u0142ywu czasu i niemo\u017cno\u015bci sprawowania nad nim kontroli.<\/jats:p>","DOI":"10.22501\/rc.967602","type":"posted-content","created":{"date-parts":[[2020,8,29]],"date-time":"2020-08-29T20:18:14Z","timestamp":1598732294000},"source":"Crossref","is-referenced-by-count":0,"title":["Nie udaj\u0119, \u017ce nic si\u0119 nie sta\u0142o"],"prefix":"10.22501","author":[{"family":"Kornelia Dzikowska","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:09Z","timestamp":1727192889000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/967602\/967603"}},"issued":{"date-parts":[[2020,8,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.967602","published":{"date-parts":[[2020,8,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671840},"posted":{"date-parts":[[2012,10,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This letter describes the outline of an individual artists ideology. It presents an insight into the foundation of what drives an artist to create an art object from a personal point of view. Don't let that put you off the validity of the content, because the only way you can come anywhere near to understanding this sensation that an artist encounters is to get an artist to describe it. Studying objects that artist create will not help because all works of art transform the experience that is, at its manifestation, a glimpse of an inherent sensation hidden within our powers of perception. I believe this sensation is a vestige of a primal state of mind that we have evolved to suppress in all we see and do. Whether-or-not this sensation I described is a valid identification of the art experience is not for me to judge. All I can say is that, once the theory of evolution became known, the pioneers of modernism realised traditional practices had arisen to suppress raw animal intuition.<\/jats:p>","DOI":"10.22501\/rc.29778","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:34Z","timestamp":1498067734000},"source":"Crossref","is-referenced-by-count":0,"title":["A LETTER FROM A MODERN ARTIST"],"prefix":"10.22501","author":[{"family":"Christopher Hollins","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:50:51Z","timestamp":1727193051000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/29778\/29779"}},"issued":{"date-parts":[[2012,10,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.29778","published":{"date-parts":[[2012,10,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671290},"reference-count":0,"publisher":"Society for Artistic Research","issue":"26","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,5,26]]},"abstract":"Affective atmosphere is a new method of directing film performance and producing experimental fiction in the tradition of art cinema, which emerged from a wider practice research project entitled Affective Cinema, funded by the UK Arts and Humanities Research Council. As an approach to filmmaking, affective atmosphere prioritises the becoming of an event over a narrative\/production plan, and uses experimental production strategies to maximise the potential of spontaneous directorial decisions and the unpredictable flow of reality for generating alternative narrative\/dramatic film structures. The method is rooted in practitioner know-how stimulated by reflection, but also informed by a synthesis of the key concepts of Deleuze and Guattari, and theoretical writings on atmosphere (B\u00f6hme, Griffero) and film performance (Benjamin, Del R\u00edo). In this way, the project meaningfully applies philosophical concerns to filmmaking, expanding, in the process, on theoretical understanding, while embedding this knowledge tacitly in artistic practice. Furthermore, the research leads to the development of a set of applicable film production methods, unified by a clear rationale and a creative purpose linked to demonstrable outcomes.<\/jats:p>","DOI":"10.22501\/jar.989439","type":"journal-article","created":{"date-parts":[[2022,5,26]],"date-time":"2022-05-26T21:04:21Z","timestamp":1653599061000},"source":"Crossref","is-referenced-by-count":0,"title":["Affective Atmosphere: A Non-Representational Method of Devising Film Performance and Fiction"],"prefix":"10.22501","author":[{"family":"Pavel Prokopic","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:48Z","timestamp":1727193108000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/989439\/989441"}},"issued":{"date-parts":[[2022,5,26]]},"references-count":0,"journal-issue":{"issue":"26"},"URL":"https:\/\/doi.org\/10.22501\/jar.989439","published":{"date-parts":[[2022,5,26]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671908},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,7,16]]},"abstract":"This exposition presents the artistic research project \u2018Exploring the Efficiency of Artistic Practices within the Context of their Interaction\u2019, which examines the ways in which artistic practices interact with one another. It understands practices as the organised media and structures through which a researcher is able to initiate and continue the process of environmental constitution, the embodied process through which the world emerges as meaningful for and with us. The project is situated within the context of a phenomenological approach to consciousness and sense-making. It demonstrates the potential of artistic practices as phenomenological methods; practices not merely for the creation of art but as vehicles for investigation into human experience. \n\nThe exposition is separated into two sections:\n\nThe first section attempts to present\u2014that is, to make present\u2014the environment as constituted by the researcher through his engagement with the four main artistic practices; descriptive writing, auditory diagramming, sketching and composing. As part of these practices, the initial engagement with the researcher's surroundings was established through the practices of listening and hearing - making this a primarily aural undertaking. The artefacts are given to the reader in a way that hopes to facilitate desired conditions in which the researcher\u2019s perceived environment becomes present. The artefacts relate directly to the practices which allowed the researcher\u2019s understanding of his environment, and are therefore powerful objects, which may allow the reader to come into contact with the same dynamics that allowed the environment to appear in the first place. \n\nThe second section contains a reflective text which looks back on this process of environmental constitution in an attempt to understand the role of each artistic practice within the context of their interaction. It also contextualises the project within the framework of artistic research, by understanding the artistic practices not only as methods for art creation, but also as mediators of human experience, and therefore as tools for understanding the way the world emerges with us. The text, therefore, simultaneously addresses the idea of consciousness as an enactive process, one which sees a blurring of agency between researcher, practice and environment. \n\nThe reflection is split into two sections, each referring to two different phases of research: the first, an open and generative approach to the engagement of the practices. The second, a pre-determined and deliberate structure for this engagement.<\/jats:p>","DOI":"10.22501\/jar.388872","type":"journal-article","created":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T15:46:32Z","timestamp":1594914392000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring the Efficiency of Artistic Practices within the Context of their Interaction"],"prefix":"10.22501","author":[{"family":"Andrew Miller","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:19Z","timestamp":1727193139000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/388872\/654947"}},"issued":{"date-parts":[[2020,7,16]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jar.388872","published":{"date-parts":[[2020,7,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:45Z","timestamp":1727238645065},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: RAD Performance \u2013 Driving Voices of Resistance, Supervisor: Ruth Schnell\n\nEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>","DOI":"10.22501\/envelo.2738354","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T11:25:28Z","timestamp":1715599528000},"source":"Crossref","is-referenced-by-count":0,"title":["SPIRAL BIKE \u2013 mobile concerts and sound art in public space"],"prefix":"10.22501","author":[{"family":"Conny Zenk","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:14Z","timestamp":1727193914000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2738354\/2738355"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2738354","published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:45Z","timestamp":1727238645643},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,6,22]]},"abstract":"PhD project: Technique Concerns: Ballet Practice Against the Western Archive, Supervisors: Ruth Anderwald + Leonhard Grond\n\nEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>","DOI":"10.22501\/envelo.2105028","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T22:17:51Z","timestamp":1714083471000},"source":"Crossref","is-referenced-by-count":0,"title":["Andrew Champlin on his research project, Technique Concerns: Ballet Practice Against the Western Archive"],"prefix":"10.22501","author":[{"family":"Andrew Champlin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:37Z","timestamp":1727193937000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2105028\/2105006"}},"issued":{"date-parts":[[2023,6,22]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2105028","published":{"date-parts":[[2023,6,22]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:16Z","timestamp":1727238676653},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,16]]},"abstract":"This research develops a simplification of a graphical resource: the International Phonetic Alphabet. The choices made to simplify it are based on an analysis of existing diction methods. The thesis format seemed most suitable for my research, as the IPA is a graphical notation method which is meant to be used by writing it down. (While it is of course used to notate sounds, these sounds themselves are not actually the focus of the research. There are also already an abundance of audio examples for the IPA symbols.)\n\nThe IPA can be a very useful aid for classical singers, from ensemble singers to soloists, but appears intimidating from the amount of symbols it has. This research looks at which IPA symbols are used and which are not used in five different diction methods for classical singers. These are systematically analysed and presented graphically to the reader to help visualise which of all the symbols presented on the IPA chart are regularly used by singers. The end result is practical in nature: a Simple IPA chart which uses only those symbols a classical singer really needs to sing the five main languages for classical singing: English, French, German, Italian and Latin.<\/jats:p>","DOI":"10.22501\/koncon.1967201","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:19Z","timestamp":1725921439000},"source":"Crossref","is-referenced-by-count":0,"title":["Making a simple International Phonetic Alphabet (IPA)\u2014For singers, conductors and composers"],"prefix":"10.22501","author":[{"family":"Bas Ammerlaan","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:32Z","timestamp":1727193332000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1967201\/1967202"}},"issued":{"date-parts":[[2023,5,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1967201","published":{"date-parts":[[2023,5,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:12Z","timestamp":1727238672912},"reference-count":0,"publisher":"Society for Artistic Research","issue":"32","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,7,15]]},"abstract":"In Doppel- oder Mehrfachbelichtung bergen die zuf\u00e4lligen Vermischungen von unterschiedlichen Orten und Zeiten auf einem Photo die M\u00f6glichkeit, Unbekanntes, Unbewusstes aufzusp\u00fcren, Spekulationen \u00fcber Zufall, Leere und Unendlichkeit anzustellen oder Immanenz zu erfahren. Dieser Artikel begibt sich mit dem Konzept der Non-Photographie von F. Laruelle, des aleatorischen Materialismus von L. Althusser sowie den immanenzphilosophischen \u00dcberlegungen von G. Deleuze und F. Guattari auf die Spuren einer Ontologie resp. einer non-onto-photo-logischen Beschreibung von Doppel- oder Mehrfachbelichtungen. Im Zentrum dieser Betrachtung steht die Annahme, dass eine Photographie nicht als ein Klon der Realit\u00e4t, als ein fetischistischer Realismus zu betrachten ist, sondern als Umkehrung dieser Ordnung: In der Imagination begr\u00fcndet sich die Realit\u00e4t der Photographie, weil in Doppel- oder Mehrfachbelichtung durch das Ineinandergehen der Objekte den Objektformen die Kausalit\u00e4t entzogen wird. Es entsteht ein erkenntnistheoretisches, ein sinnliches Dazwischen. Diese zentrale Annahme, dass in einer solchen Nicht-Standard-\u00c4sthetik der Doppel- oder Mehrfachbelichtung keine Doubles der Welt produziert werden, sondern Indeterminanten, hat zur Folge, dass diese Zuf\u00e4lligkeiten, Variablen und Szenarien auch als solche erkannt werden m\u00fcssen, weshalb in diesem Artikel theoretische Legenden im Anschluss an Laruelle, Althusser und Deleuze\/Guattari entwickelt werden, die es erlauben, die Immanenz der Bilder zu erfassen.\n\nEnglish\n\nN-fold Exposures - Non-Photography, Aleatory Materialism, Images without Objects\n\nIn classical photography, analog double or multiple exposures are considered as an accident, a mistake, or unaesthetic. But the accidental blending of different places and times in a photo holds the possibility to detect the unknown, the unconscious, to speculate about co-incidence or to experience immanence. This article goes on the traces of an ontology resp. a non-onto-photo-logical description of n-exposures with Francois Laruelle\u2019s non-philosophical visual aid as well as the philosophy of Althusser, Deleuze and Guattari. At the center of this consideration is the assumption not to regard a photo as a clone of reality, as a fetishistic realism, but as an inversion of this order: not the photo simulates reality, but the image establishes reality. Therefore a photo can develop a life of its own, a reality of its own. Through the interlocking of objects in multiple exposures, the object forms in the photography are deprived of causality, thus creating an epistemological, a sensual in-between, i.e., possibility spheres of imagination and experience. The reflection that in the non-standard aesthetic of n-fold exposure no doubles of the world are produced, but indeterminants, has the consequence that these variables and scenarios has to be recognized as such. That is why in this article theoretical legends are developed, which allow to capture the immanence of the images by means of a non-standardized aesthetics.\n\n<style>\n\/* rules to make button only show up in META *\/\n.download-accessible {\n display:none;\n}\n\n.meta-right-col .download-accessible {\n display: inline-block;\n padding: 9px; \n margin-bottom:25px; \n border: 1px solid black; \n background-color:white;\n}\n<\/style>\n\n<a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&file=2936356\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>","DOI":"10.22501\/jar.1703471","type":"journal-article","created":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T10:36:03Z","timestamp":1721039763000},"source":"Crossref","is-referenced-by-count":0,"title":["n-fach-Belichtungen \u2013 Non-Photographie, Materialismus der Begegnung, Bilder ohne Objekte"],"prefix":"10.22501","author":[{"family":"Stefan Paulus","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:20Z","timestamp":1727193080000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1703471\/2864758"}},"issued":{"date-parts":[[2024,7,15]]},"references-count":0,"journal-issue":{"issue":"32"},"URL":"https:\/\/doi.org\/10.22501\/jar.1703471","published":{"date-parts":[[2024,7,15]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:02Z","timestamp":1727196002847},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,8,29]]},"abstract":"Our aim here is to both provide a response to the Conference \u2018Please Specify!\u2019 and to find an alternate way of ensuring that the intrinsic generative nature of research and art is kept active, akin to the mobius strip-like path of both conclusions, and openings.\n\n \u201cMidpointness\u201d is a generative project. It is dismantled and reconstructed through the gradual accretion of surrounding connections, associations and influences of the curators, artists, students and other audiences who contribute to it. These are in the form of artworks, public events, texts, artefacts, performances or other interventions. 'An Obstract for Midpointness' (Obstract)is a piece of artistic research constructed before, during and after, \"PLEASE SPECIFY!\", The SAR Annual Conference 2017.\n\n'Obstract' is as an element of the ongoing project \u201cMidpointness\u201d that seeks to invite us to consider the \u2018work\u2019 of art as art\u2019s labour or task. We seek to explore the dynamics of inner\/outer dialogues of the process of artistic work, opening up other potentials that an artist researcher might hope for when he\/she explores the generative potential of the work of artistic research directly within and in response to a conference about artistic research. \n\nAt the centre is spoken text that is a play on the tradition of the conference \u2018abstract.\u2019 The abstract is the site of an outline of intention, yet here we couple it with an \u2018obstruction\u2019 as a means of aggravating and diverting the attempt at a conclusion towards which an abstract, and indeed a formal presentation, might be aimed. \u201cObstract\u201d suggests, by a process of intervention that the \u2018centre\u2019 (the work and\/or the text) and its surrounding universe are completely indivisible. As such the principle of \u2018footnotes\u2019 filter through to the whole spoken text; the footnotes being analogous to the surrounding constellations within which the \u2018centre\u2019 of the work sits, swapping footnotes for centre and vice versa. The footnotes refer to points both real and imagined in the past, present and future.<\/jats:p>","DOI":"10.22501\/ruu.361957","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T15:48:59Z","timestamp":1538236139000},"source":"Crossref","is-referenced-by-count":0,"title":["An Obstract for Midpointness"],"prefix":"10.22501","author":[{"family":"Andrew Bracey","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Steve Dutton","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:02:39Z","timestamp":1727193759000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/361957\/361958"}},"issued":{"date-parts":[[2018,8,29]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/ruu.361957","published":{"date-parts":[[2018,8,29]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:09Z","timestamp":1727194209471},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,5,25]]},"abstract":"As a harpsichordist and HIP performer, I was so fascinated with 16th-century keyboard tablature notation on my first encounter some years ago. Since then, I have been inspired to explore playing from original notation as part of my HIP training. This research is a big part of this artistic endeavor, addressing 16th-century keyboard tablature notation from Spanish and German sources and finding answers for what it is, why it was invented, why it is not in practice today, and how one may bring it back to practice. At the beginning stages of this exploration, I noticed that keyboard tablature was not really in practice as performance notation in the current HIP dialogue. I wanted to investigate why and, through this thesis, present it as a relevant, stimulating topic. This research presents historical and theoretical analysis of this notation and the results of an extensive systematic experiment-survey I devised and conducted with 32 non-musicians and musicians of all levels. Personally, the contents of this thesis have greatly deepened my understanding of historical performance of keyboard music in the 16th century and enriched my experience as an Early Music performer.<\/jats:p>","DOI":"10.22501\/koncon.532888","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:41:50Z","timestamp":1725921710000},"source":"Crossref","is-referenced-by-count":0,"title":["16th-Century Keyboard Tablature as Performance Notation"],"prefix":"10.22501","author":[{"family":"Christina Kwon","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:03Z","timestamp":1727193423000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/532888\/753136"}},"issued":{"date-parts":[[2020,5,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.532888","published":{"date-parts":[[2020,5,25]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:09Z","timestamp":1727194209892},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,5,27]]},"abstract":"\u3000Carl Reinecke (1824-1910) was a German composer, pianist, conductor of the Leipzig Gewandhaus Orchestra, and professor at the Leipzig Conservatory. His piano performances were admired by Felix Mendelssohn, Robert Schumann and Franz Liszt, and he was reputed as \"the greatest and most sincere Mozart player of his time.\"However, you may be surprised on listening for the first time to his performances preserved on piano rolls, since there is noticeable use of expressive practices such as manual asynchrony, unnotated arpeggiation, and rubato (flexibility of rhythm and tempo), which is quite far from the kind of performance style that is considered good today.\n\u3000This research clarifies the features of the performance practices audible in early piano rolls, such as those by Reinecke. It focuses on how he arranged and notated the Larghetto from Mozart's Piano Concerto No.26 K.537 for piano solo, how he performed it on piano roll (1905), and how he described the performance of the movement in his book Zur Wiederbelebung der Mozart'schen Clavier-Concerte (1891). The discrepancies between the three source materials give an insight into the implied performance practices of Reinecke\u2019s time and his tacit knowledge. The research culminates with personal experimentation and reflection on how these performance practices can expand the freedom and possibilities of the author\u2019s performances.<\/jats:p>","DOI":"10.22501\/koncon.2388267","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:07Z","timestamp":1725921367000},"source":"Crossref","is-referenced-by-count":0,"title":["Between Performance and Notation: How did Carl Reinecke understand Mozart\u2019s piano concerto No.26 K.537?"],"prefix":"10.22501","author":[{"family":"Mako Kodama","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:03Z","timestamp":1727193303000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2388267\/2388268"}},"issued":{"date-parts":[[2024,5,27]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2388267","published":{"date-parts":[[2024,5,27]]}},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:02Z","timestamp":1727194202934},"posted":{"date-parts":[[2019,4,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition is a visual and textual map of exploratory projects by 10 Aalto ARTS students and 12 Universit\u00e4t der K\u00fcnste students in their collaboratory workshop URBAN PERIPHERIES Vol. 1 in Helsinki\/Espoo, during 5-20 February 2019. \n\nThe exposition is composed by the Aalto ARTS students and their supervisor, and it reflects the interventional works realised by the ARTS + UdK students, and experimental texts realised by the ARTS students after the actual workshop. \n\nThe exposition similarly works as a basis for the second part of URBAN PERIPHERIES (Vol. 2) that will take place in UdK Berlin in December 2019. It thus also outlines possible scenarios to be explored on grounds of the first workshop.<\/jats:p>","DOI":"10.22501\/rc.569317","type":"posted-content","created":{"date-parts":[[2019,4,6]],"date-time":"2019-04-06T12:11:40Z","timestamp":1554552700000},"source":"Crossref","is-referenced-by-count":0,"title":["urban peripheries workshop Vol. 1 publication"],"prefix":"10.22501","author":[{"family":"Maiju Loukola","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Maiju Loukola","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Bea Tornberg","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Una Auri","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Virpi Nieminen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:09Z","timestamp":1727192949000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/569317\/569318"}},"issued":{"date-parts":[[2019,4,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.569317","published":{"date-parts":[[2019,4,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:13Z","timestamp":1733202793116,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,10,28]]},"abstract":"Drawing on micro-temporal media archaeology paired with object-oriented ontology, this paper will develop new ideas regarding non-human conceptualizations of sounding media, memory, time, and sound objects. Studying the way in which music machines collect and store auditory data enables us to get closer to the inner functioning and self-reflections of our sounding apparatuses, creating alternative perspectives on mediated representation and the various temporal processes unfolding within technology. Thus an interweaving of object-oriented ontology and media archaeology is unfolded, taking its starting point in a practical engagement with electro-magnetic recording devices which execute what could be described as applied ontology, something that generates awareness of the moment when media themselves become active archaeologists of knowledge.<\/jats:p>","DOI":"10.22501\/jss.219290","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:04Z","timestamp":1733149624000},"source":"Crossref","is-referenced-by-count":0,"title":["Where are the Ears of the Machine? Towards a sounding micro-temporal object-oriented ontology"],"prefix":"10.22501","author":[{"family":"Morten Riis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:04Z","timestamp":1733149624000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/219290\/219291"}},"issued":{"date-parts":[[2015,10,28]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/jss.219290","published":{"date-parts":[[2015,10,28]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:13Z","timestamp":1733202793440,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2023,3,6]]},"abstract":"Dedication \u2013 to life cut on the sharp side of separation\n\nI dedicate this essay to the heartbreak on the sharp side of the sadness of separation. Every pulse and river that has been silenced by insensibility to life\u2019s gifts of companionship and cries for care. Every species, kind, and gender sentenced to death for their illegibility, unprofitability, their queer intimacy with the mysteries and reciprocities of creation. Every relation of every victim of every scale of every act of extraction, enslavement, genocide, ecocide, epistemicide, and linguicide that is committed by the white colonial capitalist heteropatriarchal human West.<\/jats:p>","DOI":"10.22501\/jss.1925993","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:39Z","timestamp":1733149539000},"source":"Crossref","is-referenced-by-count":0,"title":["From a Modern\/Colonial Sensorium to Relational Response-ability: Listening Into What Separation Has to Say"],"prefix":"10.22501","author":[{"family":"Sarah Amsler","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:39Z","timestamp":1733149539000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1925993\/1925994"}},"issued":{"date-parts":[[2023,3,6]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jss.1925993","published":{"date-parts":[[2023,3,6]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:20Z","timestamp":1733202800567,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,1,12]]},"abstract":"At the Margins of the Audible. Morton Feldman\u2019s Ephemeral Compositions.<\/jats:p>","DOI":"10.22501\/jss.322986","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:13Z","timestamp":1733149633000},"source":"Crossref","is-referenced-by-count":0,"title":["At the Margins of the Audible. Morton Feldman\u2019s Ephemeral Compositions"],"prefix":"10.22501","author":[{"family":"Dieter Mersch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:27:14Z","timestamp":1733149634000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/322986\/322987"}},"issued":{"date-parts":[[2017,1,12]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/jss.322986","published":{"date-parts":[[2017,1,12]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:12:59Z","timestamp":1733202779938,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,9,3]]},"abstract":"\u201cThe Pteropoetics of Birdstrike\u201d is a work of multimedia scholarship consisting of a curatorial essay and a twenty-five minute audio piece. Working at the intersection of Sound Studies, Environmental Humanities, and Mobility Studies, the project examines the phenomenon of birdstrike: when birds collide with aircraft. The physical and radiophonic spaces of the airport create a contact zone of human and avian aeromobilities, with birdstrikes as vivid dramas of that shared space. I consider the implications of birdstrike through a critical essay that curates an audio composition that works through the selection and juxtaposition of found sound material. That material consists of recordings of air traffic control conversions during birdstrike incidents, recorded interviews with a pioneer in the field of forensic ornithology, and several poetry recitations. The recitations include the iconic \u201caerial image\u201d of a skylark\u2019s flight-song, paired with recordings of the actual bird. The result of the whole is to redirect a tradition of aerial imagination towards a new \u201cpteropoetics\u201d that understands the sky as a habitat shared with others.<\/jats:p>","DOI":"10.22501\/jss.873703","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:27Z","timestamp":1733149527000},"source":"Crossref","is-referenced-by-count":0,"title":["The Pteropoetics of Birdstrike"],"prefix":"10.22501","author":[{"family":"Jacob Smith","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:27Z","timestamp":1733149527000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/873703\/873704"}},"issued":{"date-parts":[[2020,9,3]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jss.873703","published":{"date-parts":[[2020,9,3]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:00Z","timestamp":1733202780172,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Technologically mediated solitary listening now constitutes the prevalent mode of musical engagement in the Industrialized West. Music is heard in a variety of real-world contexts, and qualities of subjective experience might similarly be expected to be wide-ranging. Yet though much is known about function (music as a behavioral resource) less research has focused on ways in which music mediates consciousness. This essay critiques conceptualizations of music listening in extant literature and explores how listening to music in daily life both informs and reflects subjectivity. \n\nPsychological and musicological literature on music listening commonly distinguishes between autonomous and heteronomous ways of listening, associating the former with unusual and the latter with mundane, habitual listening scenarios. Empirical findings from my research, which used ethnographic methods to tap qualities of subjective experience, indicate that attentive and diffused listening do not map neatly onto 'special' and 'ordinary' contexts and that a distributed, fluctuating attentional awareness and multimodal focus are central to many experiences of hearing music.<\/jats:p>","DOI":"10.22501\/jss.225321","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:12Z","timestamp":1733149572000},"source":"Crossref","is-referenced-by-count":0,"title":["Modes of Music Listening and Modes of Subjectivity in Everyday Life"],"prefix":"10.22501","author":[{"family":"Ruth Herbert","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:12Z","timestamp":1733149572000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/225321\/225322"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/jss.225321","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:40:17Z","timestamp":1732642817820,"version":"3.28.2"},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition examines how notions of queerness can be built into the construction of a 15-minute long concerto for 9 saxophones and orchestra. \nI am presenting the full orchestral score, a video of the premiere performance and a commentary on the research process.<\/jats:p>","DOI":"10.22501\/rc.915432","type":"posted-content","created":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T16:15:32Z","timestamp":1608308132000},"source":"Crossref","is-referenced-by-count":0,"title":["Notions of Queerness as compositional building blocks in \"There are more of them than us - a Queer Concerto for 9 Saxophones and Orchestra\""],"prefix":"10.22501","author":[{"family":"Michael Wolters","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:07:34Z","timestamp":1732640854000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/915432\/1082627"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.915432","published":{"date-parts":[[2020,12,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,2,12]],"date-time":"2025-02-12T05:28:58Z","timestamp":1739338138372,"version":"3.37.0"},"posted":{"date-parts":[[2024,9,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is an example of how a graphical exhibition could look like.<\/jats:p>","DOI":"10.22501\/kth.2991884","type":"posted-content","created":{"date-parts":[[2025,2,11]],"date-time":"2025-02-11T16:47:01Z","timestamp":1739292421000},"source":"Crossref","is-referenced-by-count":0,"title":["KTH Library\u00b4s history"],"prefix":"10.22501","author":[{"family":"Greta Quesada Richardson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,11]],"date-time":"2025-02-11T16:47:02Z","timestamp":1739292422000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2991884\/2991885"}},"issued":{"date-parts":[[2024,9,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kth.2991884","published":{"date-parts":[[2024,9,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,1,7]],"date-time":"2024-01-07T00:17:01Z","timestamp":1704586621177},"posted":{"date-parts":[[2024,1,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.2458902","type":"posted-content","created":{"date-parts":[[2024,1,6]],"date-time":"2024-01-06T19:43:51Z","timestamp":1704570231000},"source":"Crossref","is-referenced-by-count":0,"title":["RTX - Music Box"],"prefix":"10.22501","author":[{"family":"Dimitris Zonias","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,1,6]],"date-time":"2024-01-06T19:43:51Z","timestamp":1704570231000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2458902\/2458903"}},"issued":{"date-parts":[[2024,1,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2458902","published":{"date-parts":[[2024,1,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T05:29:35Z","timestamp":1740806975246,"version":"3.38.0"},"posted":{"date-parts":[[2025,2,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,24]],"date-time":"2025-02-24T00:00:00Z","timestamp":1740355200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Jean-Luc Godard a d\u00e9crit le film comme un \u201cdiagnostic m\u00e9dical\u201d, remettrant les images d\u2019archives silencieuses de Sigmund Freud avant son suicide avec une morphine. En gardant le fait de pertes mondiales en temps de guerre et de virus, cet article retrace les itin\u00e9raires du suicide dans la visite d\u2019Agn\u00e8s Varda du manoir de Godard en Suisse dans i (2017) avant sa mort et le suicide assistr\u00e9 de Godard.<\/jats:p>\n keywords: Jean-Luc Godard, Mort, Freud, Agn\u00e8s Varda, Memento Mori, Sigmund Freud<\/jats:p>","DOI":"10.22501\/rc.3440619","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:08:21Z","timestamp":1740740901000},"source":"Crossref","is-referenced-by-count":0,"title":["La Mort Freudienne de Jean-Luc Godard"],"prefix":"10.22501","author":[{"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:08:21Z","timestamp":1740740901000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3440619\/3440618"}},"issued":{"date-parts":[[2025,2,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3440619","published":{"date-parts":[[2025,2,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,5,19]],"date-time":"2025-05-19T10:10:05Z","timestamp":1747649405686,"version":"3.40.5"},"posted":{"date-parts":[[2025,5,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,5,19]],"date-time":"2025-05-19T00:00:00Z","timestamp":1747612800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is the final reflection paper of Eygl\u00f3 H\u00f6skuldsd\u00f3ttir Viborg from the MA program in Performing Arts at Iceland University of the arts.\n\nIt is hard to live as a living artist these days. Here are some of my findings on how I can use the art of karaoke to make ends meet.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3211797","type":"posted-content","created":{"date-parts":[[2025,5,19]],"date-time":"2025-05-19T09:36:05Z","timestamp":1747647365000},"source":"Crossref","is-referenced-by-count":0,"title":["Karaoke and Queering Capitalism"],"prefix":"10.22501","author":[{"family":"Eygl\u00f3 H\u00f6skuldsd\u00f3ttir Viborg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,5,19]],"date-time":"2025-05-19T09:36:06Z","timestamp":1747647366000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3211797\/3211798"}},"issued":{"date-parts":[[2025,5,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3211797","published":{"date-parts":[[2025,5,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,5,21]],"date-time":"2025-05-21T04:05:19Z","timestamp":1747800319236,"version":"3.41.0"},"posted":{"date-parts":[[2025,5,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,5,19]],"date-time":"2025-05-19T00:00:00Z","timestamp":1747612800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Mikko Raita 2025\nMaster's Thesis, Demonstration of Proficiency\n\nMaster of Music in Music Technology\nMusic Technology Department\nSibelius Academy\nUniversity of the Arts Helsinki<\/jats:p>\n keywords: Dolby Atmos, Film Score, Film Music, Immersive Music, Immersive Recording, Immersive Mixing, Surround Recording, Surround Mixing<\/jats:p>","DOI":"10.22501\/rc.3676155","type":"posted-content","created":{"date-parts":[[2025,5,19]],"date-time":"2025-05-19T15:21:18Z","timestamp":1747668078000},"source":"Crossref","is-referenced-by-count":0,"title":["Immersive Music: Mixing and Recording Strategies for Theatrical and Home Film Reproduction"],"prefix":"10.22501","author":[{"family":"Mikko Raita","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,5,20]],"date-time":"2025-05-20T09:34:36Z","timestamp":1747733676000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3676155\/3676156"}},"issued":{"date-parts":[[2025,5,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3676155","published":{"date-parts":[[2025,5,19]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:22:56Z","timestamp":1725927776375},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"DOI":"10.22501\/koncon.1407410","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:31:20Z","timestamp":1725874280000},"source":"Crossref","is-referenced-by-count":0,"title":["The violoncello in the musical aesthetic of the second half of the 18th century in Germany: The Empfindsamer Stil in cello music by C.P.E Bach"],"prefix":"10.22501","author":[{"family":"Sara Vicioso Usero","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:31:25Z","timestamp":1725874285000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1407410\/1407411"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1407410","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T22:10:00Z","timestamp":1765318200341,"version":"3.46.0"},"posted":{"date-parts":[[2025,12,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T00:00:00Z","timestamp":1765238400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Mention of a surrealist form of criticism comes to us through Breton and Polizzotti, but we have little in the way of criteria or techniques for developing and identifying such critiques. This article, then, begins with the inquiry, what is surrealist criticism\u2014or what might it be? The authors then introduce the focus of their own surrealist critique, the research methodology known as arts-based research (ABR). Over the course of their examination, Fielding and Harkey suggest that an egoic, or will-driven, approach to arts-based research must ultimately fail, in that it both denies the spirit of artmaking and disregards autonomy of figures in psyche. Blending academic and surrealist prose, fiction and poetry, the authors explore ways the ABR methodology can fail to serve either art or research. Still, Jungian thought, as well as the surrealist approach, may offer tools to inform an ABR that supports art, psyche, and research. In exploring the personal complex and the collective unconscious, particularly, Harkey and Fielding offer a window on all that can be lost\u2014or gained\u2014when the life of psyche is considered in an arts-based methodology.<\/jats:p>\n keywords: surrealism, arts-based research, C.G.Jung, poetry, fiction<\/jats:p>","DOI":"10.22501\/rc.3853812","type":"posted-content","created":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T22:05:44Z","timestamp":1765317944000},"source":"Crossref","is-referenced-by-count":0,"title":["TEXT FORMAT The Hijacked Dream in Arts-Based Research: A Work of Surrealist Criticism"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0005-8446-1449","authenticated-orcid":false,"family":"Fey (Faith) Harkey","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"ORCID":"https:\/\/orcid.org\/0009-0005-7813-2788","authenticated-orcid":false,"family":"Cassie Fielding","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T22:05:44Z","timestamp":1765317944000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3853812\/3853811"}},"issued":{"date-parts":[[2025,12,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3853812","published":{"date-parts":[[2025,12,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:02Z","timestamp":1742294402948,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0033","type":"report","created":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T06:47:49Z","timestamp":1594882069000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Lucy Cotter (ed.) \u201cReclaiming Artistic Research\u201d"],"prefix":"10.22501","author":[{"given":"Leslie D.","family":"Joynes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,7,16]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:06Z","timestamp":1742292186000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-lucy-cotter-ed-reclaiming-artistic-research"}},"issued":{"date-parts":[[2020,7,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0033","published":{"date-parts":[[2020,7,16]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:11Z","timestamp":1742294411821,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0069","type":"journal-article","created":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T08:48:09Z","timestamp":1721033289000},"source":"Crossref","is-referenced-by-count":0,"title":["Unravelling Space: A reflection on a Walking Residency"],"prefix":"10.22501","author":[{"given":"Clementine","family":"Butler-Gallie","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Rik","family":"Fisher","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024,7,9]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:36Z","timestamp":1742292216000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/unravelling-space-reflection-walking-residency"}},"issued":{"date-parts":[[2024,7,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0069","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024,7,9]]}},{"indexed":{"date-parts":[[2025,6,26]],"date-time":"2025-06-26T04:06:17Z","timestamp":1750910777994,"version":"3.41.0"},"posted":{"date-parts":[[2025,6,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,25]],"date-time":"2025-06-25T00:00:00Z","timestamp":1750809600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The paper talks about Jazz drummers who were featured on albums and tracks that are far from what may be considered \u2018Jazz\u2019. It also talks about drummers who worked in the visual media industry by working on soundtracks and sometimes appearing on movies \/ TV themselves<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3759114","type":"posted-content","created":{"date-parts":[[2025,6,25]],"date-time":"2025-06-25T13:46:35Z","timestamp":1750859195000},"source":"Crossref","is-referenced-by-count":0,"title":["Crossovers between Jazz and Mainstream Media"],"prefix":"10.22501","author":[{"family":"Dhruv Sharma","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,6,25]],"date-time":"2025-06-25T13:46:36Z","timestamp":1750859196000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3759114\/3759113"}},"issued":{"date-parts":[[2025,6,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3759114","published":{"date-parts":[[2025,6,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,11,2]],"date-time":"2024-11-02T04:06:59Z","timestamp":1730520419786,"version":"3.28.0"},"posted":{"date-parts":[[2024,11,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Interactive environment based on Kinect Azure sensor where the participant draws shapes of his body. When the time passes, the frozen still images of their movemnt go higer.<\/jats:p>","DOI":"10.22501\/rc.3140993","type":"posted-content","created":{"date-parts":[[2024,11,1]],"date-time":"2024-11-01T08:53:00Z","timestamp":1730451180000},"source":"Crossref","is-referenced-by-count":0,"title":["Coalesce [coalesce_unpublished - 2024-11-01 09:33]"],"prefix":"10.22501","author":[{"family":"Laura Adel","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,1]],"date-time":"2024-11-01T08:53:01Z","timestamp":1730451181000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3140993\/3140985"}},"issued":{"date-parts":[[2024,11,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3140993","published":{"date-parts":[[2024,11,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,1,25]],"date-time":"2026-01-25T12:29:26Z","timestamp":1769344166908,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,25]],"date-time":"2026-01-25T00:00:00Z","timestamp":1769299200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this article, Bob Selderslaghs presents a research project by the Royal Conservatoire of Antwerp and Fontys Academy of the Arts Tilburg on how teaching artists can strengthen their practice in an international, hybrid learning community. Through inspiring lectures, practical experiments and in-depth reflection, participants gained recognition for their practice, expanded their artistic-pedagogical repertoire and built valuable contacts. The project emphasises the power of flexible frameworks, embodied learning and sustainable networks for greater visibility and impact in this dynamic field.<\/jats:p>\n keywords: teaching artistry, hybrid, learning community, life long learning, community of practice<\/jats:p>","DOI":"10.22501\/rc.4080247","type":"posted-content","created":{"date-parts":[[2026,1,25]],"date-time":"2026-01-25T09:58:27Z","timestamp":1769335107000},"source":"Crossref","is-referenced-by-count":0,"title":["Teaching artists: acting locally, sharing globally"],"prefix":"10.22501","author":[{"family":"Bob Selderslaghs","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,25]],"date-time":"2026-01-25T09:58:27Z","timestamp":1769335107000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4080247\/4080246"}},"issued":{"date-parts":[[2026,1,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4080247","published":{"date-parts":[[2026,1,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T23:23:38Z","timestamp":1767050618322,"version":"3.48.0"},"posted":{"date-parts":[[2025,12,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Thesis submission: Creative Section<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3348187","type":"posted-content","created":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T23:20:34Z","timestamp":1767050434000},"source":"Crossref","is-referenced-by-count":0,"title":["An interspecies (re)wilding of Practice and Process"],"prefix":"10.22501","author":[{"family":"Josh Wagner","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T23:20:34Z","timestamp":1767050434000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3348187\/3503234"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3348187","published":{"date-parts":[[2025,12,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:57Z","timestamp":1759335177762,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","license":[{"start":{"date-parts":[[2024,1,10]],"date-time":"2024-01-10T00:00:00Z","timestamp":1704844800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2024,1,10]]},"abstract":"S\u00f8ren Thilo Funder\nPhD in Artistic Research\nUniversity of Bergen\nFaculty of Fine Art, Music and Design\nThe Art Academy \u2013 Department of Contemporary Art\n\nSupervisors: Daniel Jewesbury, Darla Crispin, Anne Helen Mydland and Frans Jacobi.\n\nArtistic reflection and documentation of artistic result submitted in partial fulfillment of the requirements for the degree of Philosophiae Doctor (PhD) in Artistic Research at the University of Bergen.\n\nDate of public defence: 8.12.2023\n\n'Oceanic Horror - or How to Survive the Night in the Haunted Mansion of Absolute Capitalism' is an artistic research project that explores the potentials of utilising the genre of horror fiction to create new narratives in a political and time-based art practice. It is invested in the temporal qualities and entanglements of the horror genre and how these relate in strange ways, not only to our current tempor(e)ality and the modes of financialisation that informs this, but also to art practices using the temporal as material. \n\nFramed around the revisiting of the mid-nineties trading firm 'Island' in the advent of high frequency trading and its successor the trading company 'Archipelago', pushing the algorithmic trading systems further into the splash of web 2.0, 'Oceanic Horror' uses the methodologies of Transrealism and Meandering to create new nonlinear narrations revolving around the relationship between the opaque structures of absolute capitalism and the socio-political horror experienced in everyday life. \n\nThe research project searches for a certain condition found in horror fiction, that relates to its relentless nowness, its proposed prolonging of this now, its relation to eventality and the quasi-event and finally how horror fiction wants to do things to the body - not only in a simple reaction mode but really in the very temporality experienced in and by the body. \n\nThe artistic result of 'Oceanic Horror' was exhibited at Kunsthall 3.14 in Bergen 21.04.2023 - 04.06.2023, comprising a multi-channel video installation combining digital renderings with fictional cinematic scenes in an immersive total installation of office furniture sculptures forming makeshift sleep stations in the exhibition space.\n\nThe reflection for 'Oceanic Horror' is presented in this Research Catalogue exposition, including both written material, images and a comprehensive archive of all the video works that make up the entangled narratives of 'Oceanic Horror - or How to Survive the Night in the Haunted Mansion of Absolute Capitalism'\n\nNorwegian:\n'Oceanic Horror - or How to Survive the Night in the Haunted Mansion of Absolute Capitalism' er et kunstnerisk forskningsprosjekt som utforsker mulighetene i sjangeren skrekkfiksjon til \u00e5 skape nye utrykk og narrativer i politisk og tidsbasert kunstpraksis. Prosjektet utforsker skrekksjangerens temporale oppbyggning, estetikk og kvaliteter. \n'Oceanic Horror' anvender b\u00e5de som kunsteriske metoder og utrykk 'transrealisme' og 'meandering' for \u00e5 skape nye ikke-line\u00e6re fortellinger og kunst som dreier seg om forholdet mellom de ugjennomsiktige strukturene i 'absolutt kapitalisme' og den sosio-politiske 'horroren' som oppleves i hverdagen. \n\nMed utgangspunkt i historien om det reelle handelsfirmaet 'Island', som i midten av nittitallet var med i oppstarten av h\u00f8yfrekvent aksjehandel, og dens etterf\u00f8lger, selskapet 'Archipelago', som ledte b\u00f8lgen av algoritmiske aksjehandelssystemer i web 2.0, s\u00f8ker forskningsprosjektet etter en viss tilstand som finnes i horror fiction, som relaterer seg til dens n\u00e5del\u00f8se n\u00e5het, dens foresl\u00e5tte forlengelse av dette 'n\u00e5', dets forhold til 'event' og 'kvasi-event' og hvordan horror fiction \u00f8nsker \u00e5 gj\u00f8re ting med kroppen - ikke bare i en enkel reaksjonsmodus, men egentlig i selve temporaliteten som oppleves i og av betrakterens kropp. \n\nDet kunstneriske resultatet av 'Oceanic Horror' ble vist p\u00e5 Kunsthall 3.14 i Bergen 21.04.2023 - 04.06.2023. Utstillingen besto av en flerkanals videoinstallasjon som kombinerer digitale gjengivelser med fiktive filmatiske scener. Vist i en totalinstallasjon av kontorm\u00f8belskulpturer som danner provisoriske sovestasjoner i utstillingsrommet.\n\nDen kunsteriske refleksjonen som f\u00f8lger 'Oceanic Horror' presenteres p\u00e5 Research Catalogue og inkluderer b\u00e5de tekster, bilder og et omfattende arkiv av alle videoverkene som utgj\u00f8r de sammenfiltrede fortellingene til 'Oceanic Horror - or How to Survive the Night in the Haunted Mansion of Absolute Capitalism'<\/jats:p>\n keywords: KMD_FineArt<\/jats:p>","DOI":"10.22501\/kmd-ar.1955415","type":"journal-article","created":{"date-parts":[[2024,1,10]],"date-time":"2024-01-10T03:36:50Z","timestamp":1704857810000},"source":"Crossref","is-referenced-by-count":0,"title":["Oceanic Horror or How to Survive the Night in the Haunted Mansion of Absolute Capitalism"],"prefix":"10.22501","author":[{"family":"Soren Thilo Funder","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:17Z","timestamp":1759302617000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1955415\/1955416"}},"issued":{"date-parts":[[2024,1,10]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1955415","published":{"date-parts":[[2024,1,10]]}},{"indexed":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T16:12:59Z","timestamp":1759939979164,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Dogs Who Outlived Philosophy : \nOn Araya Rasdjarmrearnsook\u2019s Some Unexpected Events Sometimes Bring Momentary Happiness (2005)\n\nBy Dorian Vale\n\nIn this quietly devastating reflection, Dorian Vale examines Araya Rasdjarmrearnsook\u2019s 2005 video work Some Unexpected Events Sometimes Bring Momentary Happiness through the lens of Post-Interpretive Criticism. Rather than analyzing the dogs, their dying, or the death they face, the piece invites the viewer to endure them\u2014without commentary, without resolve.\n\n \n\nVale argues that these dogs, abandoned yet alive, offer a kind of sacred presence that survives beyond theory. They do not symbolize death. They resist being used as metaphor. Instead, they remain\u2014breathing, ailing, present\u2014while the camera holds still and the world looks away.\n\n \n\nThis essay is not an interpretation. It is a vigil.\n\n \n\nVale, Dorian. On Araya Rasdjarmrearnsook\u2019s Some Unexpected Events Sometimes Bring Momentary Happiness (2005). Museum of One, 2025. DOI: 10.5281\/zenodo.16945906\n\n \n\nAraya Rasdjarmrearnsook, Dorian Vale, Post-Interpretive Criticism, contemporary Thai art, Some Unexpected Events Sometimes Bring Momentary Happiness, art and death, ethics of witness, dying animals in art, aesthetic of silence, witnessing suffering, art of presence, slow video art, moral proximity, non-interpretive art writing, visual elegy, sacred presence, trauma in Southeast Asian art, art without metaphor, art and abandonment, ethics of stillness, dogs in contemporary art\n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: araya rasdjarmrearnsook, Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Presence, Art as Truth, The Viewer as Evidence, Interpretation vs. Witnessing, Erasure as Afterlife, Language as Custody, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Art and spirituality, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, https:\/\/orcid.org\/0009-0004-7737-5094, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, art critics, art criticism, Fine Arts, fine art<\/jats:p>","DOI":"10.22501\/rc.3921664","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:42:17Z","timestamp":1759938137000},"source":"Crossref","is-referenced-by-count":0,"title":["The Dogs Who Outlived Philosophy: On Araya Rasdjarmrearnsook's 'Some Unexpected Events Sometimes Bring Momentary Happiness' (2005)"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:42:17Z","timestamp":1759938137000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921664\/3921663"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921664","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,9]],"date-time":"2025-10-09T00:25:27Z","timestamp":1759969527972,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Aesthetic Recursion Theory: Recursion As Residue\n\nBy Dorian Vale | Museum of One\n\nThis essay introduces and formally expands the theory of Recursive Haunting, a core doctrine within the broader framework of Post-Interpretive Criticism (PIC). Developed by independent theorist Dorian Vale, the text proposes a radical reorientation of the aesthetic encounter \u2014 one that privileges residue over resolution, aftermath over artifact, and reverberation over revelation.\n\n \n\nDrawing on the philosophical lineage of Jacques Derrida (hauntology), Cathy Caruth (trauma theory), Emmanuel Levinas (ethical proximity), and Susan Sontag (against interpretation), the essay argues that the most ethically urgent and ontologically significant dimension of an artwork may not exist in its visible form, but in the trace it leaves behind. This trace \u2014 emotional, temporal, or cognitive \u2014 becomes the primary epistemic unit of aesthetic meaning.\n\n \n\nThe essay expands the concept of the critic-as-custodian, rejecting the role of the critic as interpreter or authority. Instead, it introduces a post-interpretive ethic in which the critic\u2019s role is to steward the lingering, to document the haunting, and to carry what cannot be proven. This paradigm shift reframes the aesthetic encounter as an unfolding \u2014 a recursive return of affect and meaning that often defies articulation, formal critique, or timely analysis.\n\nKey theoretical concepts introduced or expanded include:\n\nRecursive Haunting (as delayed aesthetic afterlife)\n\nThe Trace (as residue of encounter and proof of presence)\n\nThe Custodian\u2019s Dilemma (the ethical burden of protecting invisible meaning)\n\nTemporal Stewardship (the critic as witness to return rather than origin)\n\nStillmark Theory (cross-referenced, positioning encounter as art)\n\nThis work also operates within the emerging digital research institute Museum of One, where it is archived, DOI-indexed, and interlinked with other treatises forming the philosophical infrastructure of the Post-Interpretive Movement. It is one of the first independent critical essays to be recognized in full by Google AI\u2019s semantic overview system, signaling a rare case of non-institutional philosophical work achieving SEO-level authority and conceptual summarization by AI knowledge graphs.\n\nDorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.\n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)\n\nDorian Vale is the pseudonym of the author and theorist behind the Post-Interpretive Movement and the Museum of One (www.museumofone.art). This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.3921574","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T06:37:11Z","timestamp":1759905431000},"source":"Crossref","is-referenced-by-count":0,"title":["Aesthetic Recursion Theory: Recursion As Residue"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T06:37:11Z","timestamp":1759905431000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921574\/3921573"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921574","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,9]],"date-time":"2025-10-09T00:44:49Z","timestamp":1759970689379,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Custodian of Consequence: Reframing the Role of the Critic\n\nBy Dorian Vale\n\nIn this philosophical essay, Dorian Vale redefines the role of the critic\u2014not as interpreter, judge, or analyst, but as custodian of consequence. Rooted in the doctrines of Post-Interpretive Criticism, the work challenges the traditional posture of critique as commentary and repositions it as a form of ethical stewardship.\n\n \n\nVale explores how every act of writing about art either preserves or distorts the original encounter. Through sharp theoretical analysis and poetic argumentation, the essay exposes the critic\u2019s unseen power to shape memory, public reception, and even the afterlife of a work. The true critic, Vale contends, is not the one who explains most eloquently\u2014but the one who bears the most moral proximity to the wound.\n\n \n\nThis piece is a foundational rearticulation of what it means to \u201crespond\u201d to art\u2014offering not just a new lens, but an entirely new ethic.\n\n \n\nVale, Dorian. The Custodian of Consequence: Reframing the Role of the Critic. Museum of One, 2025. DOI: 10.5281\/zenodo.17075493\n\nDorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.\n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)\n\nPost-Interpretive Criticism, Dorian Vale, art criticism ethics, role of the critic, aesthetic responsibility, non-interpretive writing, witness-based criticism, philosophy of criticism, contemporary art theory, moral proximity in art, language and power, poetic criticism, ethics of response, conceptual art critique<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Aesthetic mercy, Ontology of beauty, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Presence, Art as Truth, Interpretation, The Viewer as Evidence, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Criticism beyond interpretation, Ethical art theory, Quiet philosophy of art, Interpretive Restraint, Radical art restraint, Witness over interpretation, Quiet philosophy of artPart of the Post-Interpretive Criticism movement (Q136308909), published by Museum of One (Q136308879), authored by Dorian Vale (Q136308916), https:\/\/philpeople.org\/profiles\/dorian-vale, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, https:\/\/www.semanticscholar.org\/author\/Dorian-Vale\/2380743266, https:\/\/orcid.org\/0009-0004-7737-5094, Araya Rasdjarmrearnsook<\/jats:p>","DOI":"10.22501\/rc.3921622","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T10:40:13Z","timestamp":1759920013000},"source":"Crossref","is-referenced-by-count":0,"title":["The Custodian of Consequence: Reframing the Role of the Critic By Dorian Vale"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T10:40:13Z","timestamp":1759920013000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921622\/3921621"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921622","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,31]],"date-time":"2025-10-31T11:53:48Z","timestamp":1761911628714,"version":"build-2065373602"},"posted":{"date-parts":[[2024,5,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,5,7]],"date-time":"2024-05-07T00:00:00Z","timestamp":1715040000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This publication presents the outcomes of the Connective Symposium, which took place at Fontys Academy of the Arts in Tilburg, in November 2022. The symposium was the first time that the professorship and research group Artistic Connective Practices, initiated in 2021, opened its work to the international field: We invited practitioners from all over the world to share their work and exchange about the concept of \"artistic connectivity\". \"Artistic Connectivity Unfolding\" is an attempt to share the experiences during the symposium with the broader artistic research audience, and to contribute to the body of artistic research work that is socially engaged. The exposition is potentially many things: In part, it is a piece of documentation of the symposium, in part reflections on and proceedings of it. It is also an explorative contribution to our emerging and unfolding discourse of artistic connectivity, \u2014 unfinished, fluid and moving \u2014 and thus a springboard for our future work on artistic connectivity.<\/jats:p>\n keywords: socially engaged art, socially engaged arts, socially engaged research, connectivity, connections, connecting<\/jats:p>","DOI":"10.22501\/rc.1953710","type":"posted-content","created":{"date-parts":[[2024,4,26]],"date-time":"2024-04-26T06:54:08Z","timestamp":1714114448000},"source":"Crossref","is-referenced-by-count":0,"title":["Artistic Connectivity Unfolding"],"prefix":"10.22501","author":[{"family":"Falk Hubner","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Chrystalleni Loizidou","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Eleni Kolliopoulou","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Elisavet Kalpaxi","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"walmeri ribeiro","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Juriaan Achthoven","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Isil Egrikavuk","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Marike Hoekstra","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Jessica Renfro","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"ORCID":"https:\/\/orcid.org\/0000-0003-1568-2748","authenticated-orcid":false,"family":"Katy Beinart","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Xenia Tsompanidou","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Reyhaneh Mirjahani","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"ORCID":"https:\/\/orcid.org\/0000-0001-6635-7529","authenticated-orcid":false,"family":"Lizzie Lloyd","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,31]],"date-time":"2025-10-31T11:51:13Z","timestamp":1761911473000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1953710\/2599161"}},"issued":{"date-parts":[[2024,5,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1953710","published":{"date-parts":[[2024,5,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:53Z","timestamp":1742358173059,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0078","type":"journal-article","created":{"date-parts":[[2025,3,10]],"date-time":"2025-03-10T10:51:48Z","timestamp":1741603908000},"source":"Crossref","is-referenced-by-count":0,"title":["Journal for Artistic Research (JAR): Draft Proposal (12\/11\/2009)"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-1073-4740","authenticated-orcid":false,"given":"Michael","family":"Schwab","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2025,3,10]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:47Z","timestamp":1742292227000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/journal-artistic-research-jar-draft-proposal-12112009"}},"issued":{"date-parts":[[2025,3,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0078","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2025,3,10]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:08Z","timestamp":1742358188018,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0038","type":"journal-article","created":{"date-parts":[[2020,12,27]],"date-time":"2020-12-27T16:38:42Z","timestamp":1609087122000},"source":"Crossref","is-referenced-by-count":0,"title":["A motiva\u00e7\u00e3o que fez eclodir a RIACT"],"prefix":"10.22501","author":[{"given":"Jos\u00e9","family":"Quaresma","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,12,27]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:10Z","timestamp":1742292190000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/pt\/motivacao-que-fez-eclodir-riact"}},"issued":{"date-parts":[[2020,12,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0038","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2020,12,27]]}},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:11:43Z","timestamp":1759335103645,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T00:00:00Z","timestamp":1742169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,3,17]]},"abstract":"Welcome to Galaxy Revolution, the space station of Historical Spiritual Vibrations space agency. At the station you can access training sessions and game instructions we use to imagine training and healing practices for the new space race. You can experience glimpses of our space journeys and learn more of the history of the tools and knowledge we bring with us on our missions. Dock at our space station and (mis)use our methods to reshape and imagine the past, present, and future in your own way. \n\nThe exposition gathers documentation of Whyte&Zettergren's live actions and ritual practices at locations in Iceland where the Apollo 11 astronauts trained for their journey to the Moon. It also includes infrared imagery, a technology used in space visualization to capture light waves invisible to the human eye, recorded during the duo\u2019s space journeys. The duo explores space both as a site where future colonial projects are planned and as a fictional realm for imagining alternative worlds.\n\nIn their work, Zettergren's speculative technofeminism and Whyte's ritual dubfuturism intersect. Practices that reshape futures in various ways; through an intersectional feminist and technocritical lens, and through the experimental remixing of history, ritual, and rhythm in dub culture. When the present feels dystopian, dreams of life in space become a way to envision change, a transformation of the world through imagination, whose echoes vibrate into the future.<\/jats:p>\n keywords: Futurism, space race, collective research in arts, dreaming, resilience, Speculative Feminism, Dubfuturism, speculative fiction, performance, Infrared video, Reimagining, Alternative worlds, Ritul healing practices, ritual<\/jats:p>","DOI":"10.22501\/vis.2813155","type":"journal-article","created":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T17:35:31Z","timestamp":1742232931000},"source":"Crossref","is-referenced-by-count":0,"title":["Galaxy Revolution \u2013 Space travel as a tool for reimagining"],"prefix":"10.22501","author":[{"family":"Whyte&Zettergren","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Olando Whyte","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:47Z","timestamp":1759302647000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2813155\/2836842\/151\/444"}},"issued":{"date-parts":[[2025,3,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/vis.2813155","published":{"date-parts":[[2025,3,17]]}},{"indexed":{"date-parts":[[2025,10,2]],"date-time":"2025-10-02T00:36:39Z","timestamp":1759365399621,"version":"build-2065373602"},"posted":{"date-parts":[[2025,9,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,8]],"date-time":"2025-09-08T00:00:00Z","timestamp":1757289600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This practice-driven PhD developed a body of art in response to the question, \u2018what is it like to be a bird?\u2019 The motivation was towards ethical action in an ecologically damaged world. \nFollowing Tim Ingold, the study sees the environment as a meshwork of multiple lines of becoming (or flight), along which the lives of creatures unfold and interconnect. In my detailed bird studies, my question acted as a lure towards a tantalising, but ultimately unreachable goal. In this way line of flights developed between me and birds, stimulating the creation of artworks. These aimed to enchant viewers and encourage a rethinking of the human\/bird relationship. \nI used multiple media and methods informing each other synergistically. Ultraviolet photography revealed a hidden world, visible to birds, hence questioning the hegemony of the human view. Attaching a video camera to my dog disclosed, not just a stream of images from a new perspective, but the life of a being inhabiting the world bodily, full of energy, desires, fears, and movement. \nIn the spirit of Donna Haraway\u2019s speculative fabulations, I constructed a Birdsong-to-English translator. This produced intriguing phrases such as \u2018future earth scream now!\u2019, challenging the reductionist \u2018fighting or flirting\u2019 understanding of birdsong and reimagining the nature of human and animal language. \nBuilding on extensive observations, field notes and recordings, I developed a range of creative writing, resulting in a radio play, a gallery installation, and a poetry pamphlet. In the culminating work, Harrier Diaries, I combined text, photography and drawings, juxtaposing subjective and objective views to highlight lines of flight between birds, their environment and the observer.\nDespite aiming to know a bird\u2019s view, I concluded that what matters is not knowing, but instead an intense wonder at the unknowable. I argue that this disposition is a vital prerequisites for ethical action.<\/jats:p>\n keywords: Birdsong, language, artistic research, inter-species, translation, transdiciplinarity<\/jats:p>","DOI":"10.22501\/rc.3776090","type":"posted-content","created":{"date-parts":[[2025,9,29]],"date-time":"2025-09-29T13:25:35Z","timestamp":1759152335000},"source":"Crossref","is-referenced-by-count":0,"title":["Enchanted lines of flight \u2014 an art practice study of avian phenomenology"],"prefix":"10.22501","author":[{"family":"Jim Lloyd","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:16Z","timestamp":1759302616000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3776090\/3816790"}},"issued":{"date-parts":[[2025,9,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3776090","published":{"date-parts":[[2025,9,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,12,13]],"date-time":"2025-12-13T23:11:31Z","timestamp":1765667491859,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"This article\u2019s pivotal theme is: How to compose a site-specific sound-art installation for a commercial space in order to improve conditions, while taking perceptual, social, aesthetical, temporal and spatial criteria into account.\nThe interdisciplinary, art-based research approach is derived from the concept of acousmatics, i.e. the process of apprehending any sound, the source of which is invisible. Acousmatic perception concerns the everyday identification process; when lacking visual contact with the sound source, we automatically seek references, such as social (what produces the sound and what is my relation to it?), aesthetical, spatial and temporal (e.g. orientation and demarcation). The acousmatic concept identifies phenomena based on individually, culturally and spatially conditioned experiences.\nToday, a shopping culture dominates urban space. Indoor malls expose us to all types of acousmatically perceived sounds: jingles, signals, music and Muzak from public loudspeakers, mobile devices, etc. In this respect, one could claim that the soundscape of the shopping culture embodies an acousmatic environment.\nIn 2009, the research and sound-art group Urban Sound Institute (USIT) created a permanent sound installation in a shopping mall (Gallerian) located in downtown Stockholm. This installation serves as a case study for the present paper. The artistic assignment involved the creation of a meeting place without material devices as well as the enhancement of the overall atmosphere. The research objective was to elucidate different qualities of the sound installation in regard to the acousmatics of the shopping mall, promoting discussions on the articulation of sound-space configurations in relation to time and site-specific context, issues on musical-architectural qualities as well as objective, subjective and inter-subjective interrelationships between the experience of the sound-art installation and the experience of the shopping mall soundscape. Other applied, interrelated concepts are metabolic environment and masking- and cutting effects.<\/jats:p>","DOI":"10.22501\/jss.220808","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:54Z","timestamp":1733149554000},"source":"Crossref","is-referenced-by-count":1,"title":["Modelling the Shopping Soundscape"],"prefix":"10.22501","author":[{"family":"Bj\u00f6rn Hellstr\u00f6m","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:54Z","timestamp":1733149554000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/220808\/220809"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.220808","published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,2,10]],"date-time":"2026-02-10T03:09:12Z","timestamp":1770692952259,"version":"3.49.0"},"posted":{"date-parts":[[2026,2,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,9]],"date-time":"2026-02-09T00:00:00Z","timestamp":1770595200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Mot bakgrund av utomhuspedagogikens positiva effekt p\u00e5 kreativitet s\u00e5 har jag i den h\u00e4r studien unders\u00f6kt bildundervisning i skogen. I studien anv\u00e4nder jag arbetsmetoden A\/R\/tography och den post-kvalitativa metodologin f\u00f6r att fr\u00e4mja ett rhizomatiskt f\u00f6rh\u00e5llningss\u00e4tt till unders\u00f6kandet och l\u00e4randet. Studiens fokus \u00e4r att f\u00f6r\u00e4ndra m\u00e5l, kravfyllda tankar och ramar f\u00f6r att ge plats \u00e5t mer unders\u00f6kande, experimenterande och fantasifullt f\u00f6rh\u00e5llningss\u00e4tt till bildlektionen. Syftet \u00e4r ocks\u00e5 att skapa h\u00e4ndelser som kan st\u00e4rka id\u00e9processer och \u00f6ka n\u00e4rvaron med omv\u00e4rlden under bildlektionen genom ett inkluderande och holistiskt tillv\u00e4gag\u00e5ngss\u00e4tt. Jag har arbetat med detta genom ett teoretiskt perspektiv som belyser m\u00e4nskliga och icke-m\u00e4nskliga akt\u00f6rers roll i l\u00e4randet. Centralt i unders\u00f6kandet av konstn\u00e4rliga metoder och material har Jane Bennets begrepp \u201cThing-power\u201d varit plattformen f\u00f6r att \u00f6ppna upp en stark n\u00e4rvaro med material och omv\u00e4rlden. Fr\u00e5gest\u00e4llningarna som bearbetats \u00e4r: Hur skapar skogen ett \u201cl\u00e4randets rum\u201d som fr\u00e4mjar s\u00e4ttet att unders\u00f6ka material i en bildpedagogisk process? Och: Hur stimulerar perspektivet \"Thing-power\" en utveckling av bildpedagogiska arbetsmetoder? Fr\u00e5gorna har jag utforskat genom en konstn\u00e4rlig process med olika h\u00e4ndelser som jag i arbetet satt ihop till ett lektionsuppl\u00e4gg i skogen. Tv\u00e5 utforskande h\u00e4ndelser bearbetas och analyseras utifr\u00e5n begreppen thing-power, konst-som-g\u00f6rande, \u00e4nnu-icke-sedda, sl\u00e4ta rum och lerbaserad spr\u00e5klighet. Studien har visat hur en st\u00f6rre n\u00e4rvaro och uppm\u00e4rksamhet till de icke m\u00e4nskliga krafterna hj\u00e4lper till i konstn\u00e4rliga processer och att skogen \u00e4r en plats som g\u00f6r det enklare att unders\u00f6ka och experimentera med material p\u00e5 nya s\u00e4tt.<\/jats:p>\n keywords: Thing-power, Skogen, Multimodalt, pedagogik, Lera, Examensarbeten - IBIS<\/jats:p>","DOI":"10.22501\/rc.1576243","type":"posted-content","created":{"date-parts":[[2026,2,9]],"date-time":"2026-02-09T09:08:05Z","timestamp":1770628085000},"source":"Crossref","is-referenced-by-count":0,"title":["Lyssna p\u00e5 Myrstack - N\u00e4rvaro med skogen och leran"],"prefix":"10.22501","author":[{"family":"Anna G\u00e4fvert","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,2,9]],"date-time":"2026-02-09T09:15:06Z","timestamp":1770628506000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1576243\/1576244"}},"issued":{"date-parts":[[2026,2,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1576243","published":{"date-parts":[[2026,2,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,9]],"date-time":"2026-03-09T03:01:03Z","timestamp":1773025263634,"version":"3.50.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2023,11,9]]},"abstract":"The study explores the connectedness of the narrative of the artwork to the sociopolitical contexts of the public space in change. Through the reflexive artistic research within the project \u201cConstruction\u201d I aim to discuss how Memory is bound to the Body. I investigate how Constructs of the public space embody the Memory and how demolishing of those constructs impact the narrative of the presence within absence.<\/jats:p>","DOI":"10.22501\/ruu.1672180","type":"journal-article","created":{"date-parts":[[2023,11,9]],"date-time":"2023-11-09T13:04:23Z","timestamp":1699535063000},"source":"Crossref","is-referenced-by-count":1,"title":["The Unbody of Construction and the Memory of Placeness"],"prefix":"10.22501","author":[{"family":"Marija Griniuk","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:11Z","timestamp":1727193551000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1672180\/1672181"}},"issued":{"date-parts":[[2023,11,9]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1672180","published":{"date-parts":[[2023,11,9]]}},{"indexed":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T10:06:50Z","timestamp":1779185210552,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T00:00:00Z","timestamp":1779148800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2026,5,19]]},"abstract":"This interactive exposition reveals the processes and findings of an artistic research project which uses sited creative practices - including field recordings, sound-making, movement and song - to explore Portuguese forest plantations. This creative field work responds to pressing global issues, including the effects of a warming climate, which reverberate through precarious, flammable landscapes such as the pine and eucalyptus plantations of central Portugal. These are deeply ambivalent, contested places. Around the planted and industrially extracted trees hangs a legacy of state afforestation and rural depopulation, as well as present fire risks. They are an example of \u2018cheap nature\u2019 (Moore and Patel 2018), where trees are treated as a resource to be extracted as efficiently as possible. The plantations are also full of surprising beauty, feral happenings and \u2018unruly edges\u2019 (Tsing 2015) that soften and counteract the straight lines of industrial extraction. The research focuses on affective and resonant materialities \u2013 how it feels to be in these spaces. Such feelings arise from the trees labouring for humans and being life-limited because of this, from their characterisation as flammable \u2018fuel load\u2019 and risky materialities, and from their presence as living beings, communities, and homes for multiple species. The creative field work reaches into these contradictory feelings to foster a deeper, more nuanced understanding of these increasingly precarious landscapes. It seeks new ways of expressing our relationships with other-than-humans in such places, alongside creative ways of being, which might transform perspectives of what they are and what they are for. The project also aims to explore the controlled extraction of nature, alongside how it feels to live in landscapes that are increasingly risky and outside the control of humans.<\/jats:p>\n keywords: forest plantations, creative field work, Multispecies ethnography, cheap nature, Industrial nature, Portugal, Wildfire, precarious landscapes, Climate Change<\/jats:p>","DOI":"10.22501\/hub.3581523","type":"journal-article","created":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T09:18:48Z","timestamp":1779182328000},"source":"Crossref","is-referenced-by-count":0,"title":["Creative Fieldwork in Forest Plantations: seeking resonance in precarious landscapes"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-4768-8175","authenticated-orcid":false,"family":"Joanne Scott","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T09:18:49Z","timestamp":1779182329000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3581523\/3581674"}},"issued":{"date-parts":[[2026,5,19]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/hub.3581523","published":{"date-parts":[[2026,5,19]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:45Z","timestamp":1727238645938},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2023,3,14]]},"abstract":"This exposition opens up the memory space of a landscape that carries a collective knowledge of the events of the Second World War in S\u00f8r\u00f8ya, an isolated region far in northern Norway. Inside its landscape voids, the island conceals places that once became a refuge for half of the region\u2019s inhabitants. In this research project, artists ask themselves what collective memory is and how the landscape opens up an alternative public space in its own depths. How do the caves of the island of S\u00f8r\u00f8ya carefully hide and preserve the memory of the events of the Second World War, and how do these events fade into the shadows of Norway\u2019s inhabitants\u2019 social memory?\nThis exposition shows one chapter of our ongoing research project Dunke-Dunk, where the landscape is becoming the cavescape and the cavescape is becoming the humanscape through the artists\u2019 long field trips to the region, their bodily immersion in caves, and an endless evagation searching for what preserves the memory of the touch of the Second World War through the [re]reading of archives, all the while collecting stories from the inhabitants and the terrain from an architectural and artistic perspective.<\/jats:p>","DOI":"10.22501\/vis.1659054","type":"journal-article","created":{"date-parts":[[2023,3,14]],"date-time":"2023-03-14T11:38:53Z","timestamp":1678793933000},"source":"Crossref","is-referenced-by-count":0,"title":["[Re] Mapping of Being \u2013 Landscape\/Cavescape\/Humanscape"],"prefix":"10.22501","author":[{"family":"Nina Tsy, Nataliia Korotkova (IIAKO)","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:44Z","timestamp":1727194124000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1659054\/1855069"}},"issued":{"date-parts":[[2023,3,14]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/vis.1659054","published":{"date-parts":[[2023,3,14]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:46Z","timestamp":1727238646357},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,10,17]]},"abstract":"For many years I was a part of a performance group called Verdensteatret. We made large scale performances and installations. They were often dense with information. Speech, movements, video, lights, sounds and music, all utilizing their full scales at once, fast to slow, loud to soft, bright to dark and so forth. This meant that we had many situations where the amount of information was overwhelming. Anyone attending would have to make choices of where to focus and what to follow. I recall sitting in rehearsal for the work Louder (Verdensteatret 2007) thinking: Isn\u2019t that sound finishing off Marius\u2019 movement? They are both coming to a halt after finishing a similar arch through the room. And the sound continues ten seconds after Marius has stopped. They start together but finish separately. A connection appears as they separate. The connection is clear for the ten seconds between when Marius is finished, and the sound finishes in a similar manner as Marius did. Nothing else enters and connects more strongly to either and their initial connection is strong since they start out as if in unison. I didn\u2019t think all this then, it\u2019s only now that I can put words to it. After all things are indications before they become phenomena (Bachelard 1958, 176).\n\nThis glimpse and my imaginative memory is the basis for organized time. Through this research project I have tried to recreate this glimpse, to isolate it and force it to show itself. It has been a hunt. I started fiddling about, juxtaposing things and hoping for a dialectic miracle and as things became more clear I increased precision and gradually formulated a strategy for transmedial composition.<\/jats:p>","DOI":"10.22501\/nmh-ar.628657","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T11:13:48Z","timestamp":1618312428000},"source":"Crossref","is-referenced-by-count":0,"title":["Organized time"],"prefix":"10.22501","author":[{"family":"Christian Blom","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:34Z","timestamp":1727194114000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/628657\/628658"}},"issued":{"date-parts":[[2019,10,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.628657","published":{"date-parts":[[2019,10,17]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671975},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,27]]},"abstract":"This exposition takes a close look at the concepts of self-origination and mediation for a better understanding of the photographic image engendered by a flash of light and its natural radiation. Starting from my own artistic experiments with fulguric and cosmic rays, performed in cooperation with a lightning simulation lab in Oxfordshire (UK) and with the nuclear research centre CERN in Geneva (Switzerland), it puts forward a speculative approach that looks beyond static and traditional assumptions about what it entails to 'be photographic'. Through the exploration of the creative role fulfilled by a sudden burst of light across different time periods and different manifestations (fulgurites, imprints, photograms, sound), focus is laid on the part the acheiropoieton can play in this revitalized apprehension of the photograph as a technical image and of the agencies involved in its mediation. The research projects discussed thus aim to foreground the involvement of nonhuman contributors in the formation of contemporary images and their epistemology as a possible way to re-think perception in a time increasingly shaped by a reliance on (artificially induced) visibility.<\/jats:p>","DOI":"10.22501\/jar.718461","type":"journal-article","created":{"date-parts":[[2020,10,27]],"date-time":"2020-10-27T20:56:00Z","timestamp":1603832160000},"source":"Crossref","is-referenced-by-count":0,"title":["Everything That Shines Sees: Flash Light, Photography and the Acheiropoietic."],"prefix":"10.22501","author":[{"family":"Dominique Somers","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:11Z","timestamp":1727193131000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/718461\/718462"}},"issued":{"date-parts":[[2020,10,27]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jar.718461","published":{"date-parts":[[2020,10,27]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:12Z","timestamp":1727238672233},"posted":{"date-parts":[[2015,8,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In general, art contains in itself a revolutionary quid, as the artist - through his\/her work - provides an opportunity to look at the world in a different way from that to which one was used. The art has a function of perceptive awakening and therefore of sensorial activation. This is revolutionary, because it can change your perception of life that you have had up to that time. Out of this perspective, to reconsider artist in residencies as not mere hosting institutional containers, but as laboratories of continuative production of thoughts and ideas, might also reinforce the concept that a work of art is thus the end result of a specific process \u2013 possessing specific forms and aesthetic, and that it serves no purpose except that of channelling a very specific form of energy. It\u2019s always a sort of communicative performance. It allows man to plumb his\/her own conscience and to void it, as it\u2019s only within empty spaces that energy can unleash its creative force. For it, it is required great effort and care not just from the artist who's temporarily involved, but from the ones who run the artist in residencies themselves.<\/jats:p>","DOI":"10.22501\/rc.207553","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:49Z","timestamp":1498067629000},"source":"Crossref","is-referenced-by-count":0,"title":["Reconfiguring Think Tanks as a discursive, social model in contemporary art | Residencies as places of continuity, mutuality, free thinking and independent research"],"prefix":"10.22501","author":[{"family":"Andrea Pagnes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:57Z","timestamp":1727192997000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/207553\/207554"}},"issued":{"date-parts":[[2015,8,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.207553","published":{"date-parts":[[2015,8,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:14Z","timestamp":1727238674841},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2018,4,10]]},"abstract":"It is possible to bring socio-politically engaged practices into the realm of the commons. These practices I have grouped under the umbrella of allodoxic art, a term defined in the first section of this exposition. Allodoxic art provides a way of bringing into focus the social movement struggles that have shaped the discourse across social and environmental justice, embracing the total contribution of individuals\u2019 artistic forms and active citizenship.\n\u00a0\nFrench sociologist Pierre Bourdieu (1930\u20132002) recuperates the concept of allodoxia that was first used by the Greek philosopher Plato\u00a0(427\u2013347 BC) to describe false beliefs arising from misrecognition. The word allodoxia derives from two Greek words\u00a0allo\u00a0referring to a mixture, and\u00a0doxa\u00a0meaning practices or teachings. An understanding of his use of allodoxia can equip artists with a tool to map pre-allodoxic tactical actions for unfolding allodoxic interventions that target and impact upon privileged space. Such interventions can maintain and expand the commons as embedded policy and programs, rights, and community-led initiatives. The commons are theorised here not merely as a passive legacy, but as a stake to be claimed, insistently and programmatically, as a matter of collective urgency. The commons also refer to lost or new territory claimed for the protection or expansion of rights, on the one hand, and the common good and activism in general on the other.\n\u00a0\nI present several artwork examples that elucidate hegemonic social games, as well as others that demonstrating the connection between allodoxia and hegemony. These may act as access points for artists and intervention participants to understand how allodoxic interventions, as anti-hegemonic behaviour, contribute knowledge and skills to commoning processes. They may also, through the exploration and testing of tactics, help those processes gain traction and develop. These are drawn from the radical performative practice of German-born Baroness Elsa von Freytag Loringhoven (born Else Hildegard Pl\u00f6tz 1874\u20131927: henceforth Baroness Elsa) and my studio based works.\n\u00a0\nThe theorisation of allodoxic art also draws from German political thinker Hannah Arendt (1906\u20131975), specifically her theoretical work on revolutions, which provides greater understanding of how and why we should take political actions against privileged space. As principles for allodoxic art, this work develops an analytical armature for judging the success of these tactics and to further develop these types of interventions.<\/jats:p>","DOI":"10.22501\/jar.386727","type":"journal-article","created":{"date-parts":[[2018,4,10]],"date-time":"2018-04-10T21:55:18Z","timestamp":1523397318000},"source":"Crossref","is-referenced-by-count":1,"title":["Exploring the Principles of Allodoxic Art (in dialogue with Baroness Elsa)"],"prefix":"10.22501","author":[{"family":"Jenny Brown","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:02Z","timestamp":1727193182000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/386727\/386728"}},"issued":{"date-parts":[[2018,4,10]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jar.386727","published":{"date-parts":[[2018,4,10]]}},{"indexed":{"date-parts":[[2025,2,11]],"date-time":"2025-02-11T05:12:15Z","timestamp":1739250735726,"version":"3.37.0"},"posted":{"date-parts":[[2025,2,10]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The digital Square- The art of impact\nProject summary\nA democratic conversation in artistic form on a digital square. Does immersive storytelling have potential in the public space? The dramaturgy in the experiments is non-linear and is based on theatre traditions as well as acting and documentary narrative traditions. We started up the relation to the audience in Sk\u00e4rholmen,Stockholm with our newly produced Virtual Reality story\" The Blue Blue\" &together with two actors we walk between the two rooms,seamless with no discrepanzy between the different medias and together with the audience we solve a problem. We have test groups and workshops together with our audience -from 12 years.Your look at you and yours. My look at me and mine. And so we meet.\n Phase 2 of the research will connect young people , in Sk\u00e4rholmen and Soweto where images via projection mapping take place on the facades.The methods is once again from the 2000 year old theatre tradition combined with documentary storytelling and the most modern immersive and digital tools.<\/jats:p>","DOI":"10.22501\/rc.1853850","type":"posted-content","created":{"date-parts":[[2025,2,10]],"date-time":"2025-02-10T12:37:01Z","timestamp":1739191021000},"source":"Crossref","is-referenced-by-count":0,"title":["The digital Square"],"prefix":"10.22501","author":[{"family":"Ulrika Malmgren","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,10]],"date-time":"2025-02-10T12:37:01Z","timestamp":1739191021000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1853850\/1853851"}},"issued":{"date-parts":[[2025,2,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1853850","published":{"date-parts":[[2025,2,10]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:40:21Z","timestamp":1732642821092,"version":"3.28.2"},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The aim of this body of work is to explore translation, the act of communicating the meaning of one phenomenon (the source) to another phenomenon (the target) through musical composition. This is illustrated by three related works that translate different events\/objects into musical experiences: \n\n1. Fourteen Minutes of Music on the Subject of Greeting Cards\n\n2. Forty-Five Minutes of Music on the Subject of Football\n\n3. ireland england\n\nThe intention is to create interesting structures through innovative compositional techniques that may be taken up by others. The act of translation imbues the musical work with meaning relating to our lived experiences. As a result, composition as lived experience becomes the overarching narrative, highlighting a departure from more abstract concerns to hyper-personal ones.<\/jats:p>","DOI":"10.22501\/rc.947247","type":"posted-content","created":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T12:39:49Z","timestamp":1608295189000},"source":"Crossref","is-referenced-by-count":0,"title":["Translation as a Compositional Strategy"],"prefix":"10.22501","author":[{"family":"Se\u00e1n Clancy","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:09:31Z","timestamp":1732640971000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/947247\/947248"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.947247","published":{"date-parts":[[2020,12,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:40:25Z","timestamp":1732642825892,"version":"3.28.2"},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition comprises a package of outputs from practice-led research around two unique pieces of instrumental music with winds from early seventeenth-century England. Along with the first critical performance edition and a world premiere recording of these two pieces, I present a detailed discussion of the investigation which informed the editorial process, focussing on three historical artefacts: MS Drexel 5469, the fragmentary source of the music in question; the Christ Church cornetts, two original instruments that may historically have been associated with performance of this type of repertoire; and the St Teilo organ, an instrument reconstructed after Tudor archaeological evidence and representative of the style of instrument in use when MS Drexel 5469 was compiled. I examine each artefact in turn, establishing the wider historical context of each and assessing the connections between all three. This process has not only shed new light on two pieces overlooked by historical performers until now, but raised important questions surrounding the performance of early-seventeenth century liturgical music in general.<\/jats:p>","DOI":"10.22501\/rc.944310","type":"posted-content","created":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T16:55:18Z","timestamp":1608310518000},"source":"Crossref","is-referenced-by-count":0,"title":["Reconstructing Verses by Henry Loosemore and John Coprario"],"prefix":"10.22501","author":[{"family":"Helen Roberts","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:06:26Z","timestamp":1732640786000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/944310\/1026868"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.944310","published":{"date-parts":[[2020,12,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:17Z","timestamp":1733202797970,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,5,14]]},"abstract":"The purpose of this essay is twofold: to celebrate the astonishing richness and diversity of Colombia\u2019s natural and human soundscapes, and to reconstruct the process through which my direct experience of those soundscapes has influenced my own creative work as a composer. Reflecting on a long personal and intellectual journey of discovery that plays out on many levels \u2013 musical, anthropological, aesthetical \u2013 helps bring to the fore important questions on music composition as the locus of cultural appropriation and reinterpretation. How far can the belief system of a distant culture travel before it loses its meaning? From a post-colonial perspective, can a European composer justify the use and repurposing of ideas, sounds and songs from marginalised indigenous communities? In trying to give an answer to these questions through the lens of my own experience I keep unravelling layer upon layer of complexity, in a fascinating game of mirrors where my own identity as a \"Western\" composer starts crumbling away.<\/jats:p>","DOI":"10.22501\/jss.677981","type":"journal-article","created":{"date-parts":[[2024,11,26]],"date-time":"2024-11-26T17:10:36Z","timestamp":1732641036000},"source":"Crossref","is-referenced-by-count":0,"title":["From culture to nature and back. A personal journey through the soundscapes of Colombia"],"prefix":"10.22501","author":[{"family":"Lamberto Coccioli","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:25:51Z","timestamp":1733149551000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/677981\/677982"}},"issued":{"date-parts":[[2020,5,14]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/jss.677981","published":{"date-parts":[[2020,5,14]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:00Z","timestamp":1733202780188,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,10,10]]},"abstract":"In this study, we examined the design of informative sound to assist timing in a simple, multimodal, game task. The game was initially designed as a series of eight-second, visual decision-making tasks. Players could respond quickly, with more risk, or wait longer for more information, thus reducing their risk of being incorrect. The player was scored by counting the number of correct attempts they completed in a five-minute interval. Waiting longer made the task easier but reduced the number of opportunities they had to repeat the task within the time limits of a game. In general terms, this game was designed to examine the way a player balances risk and reward. Unfortunately, the visual version of the game introduced the unintentional risk of a \u201csafe\u201d player waiting too long, timing out and failing to respond at all. This caused the risk-reward structure of the game to be out of balance. This study reports on the subsequent design and evaluation of a simple informative sound that was added to the game. The intention was to address this time-out issue without impacting other aspects of player performance. A within-subject experiment with 48 participants measured the response time, number of timeouts, and success rate of each player in a sequence of tasks. We measured player performance under three conditions: no sound (visual-only), constant (non-informative) sound, and increasing amplitude (informative) sound. We found that the increasing sound display significantly reduced timeouts when compared with the visual-only and constant sound versions of the task. Importantly, this reduction in timeouts did not impair the players\u2019 performances in terms of their success rate or response time.<\/jats:p>","DOI":"10.22501\/jss.513707","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:20Z","timestamp":1733149580000},"source":"Crossref","is-referenced-by-count":0,"title":["Informative Sound Assists Timing in a Simple Visual Decision-Making Task"],"prefix":"10.22501","author":[{"family":"Keith Nesbitt","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:20Z","timestamp":1733149580000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/513707\/513708"}},"issued":{"date-parts":[[2018,10,10]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/jss.513707","published":{"date-parts":[[2018,10,10]]}},{"indexed":{"date-parts":[[2024,12,3]],"date-time":"2024-12-03T05:13:08Z","timestamp":1733202788521,"version":"3.30.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"08","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,12,1]]},"abstract":"How have sonic experiences been conceived, articulated, and elided in histories of outer space and narratives of space exploration? This was the core question addressed in a multidisciplinary workshop Sounds of Space hosted at the Freie Universit\u00e4t Berlin in late 2012. This Journal of Sonic Studies (JSS) special issue includes a selection of articles based on papers presented at the workshop. Using a variety of themes as entry points and mobilizing an array of analytical tools, contributors to the special issue revisited the core question in addition to engaging with related questions that focus on specific sites, historical actors, organizations, and situated practices that encapsulate how our understanding of space is mediated in and through sound. Before introducing the individual contributions and additional material, I will say something about how the conception of the original workshop was primarily based on close encounters with sounds of space during my doctoral research on the history of interstellar communication (Macauley 2010). Further, I will examine how the workshop and present collection emerged from the desire to critically engage with a cluster of anomalies, elisions, and assumptions uncovered during research on the historical relationship between sound and space that prompted a series of perplexing questions.<\/jats:p>","DOI":"10.22501\/jss.109716","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:57Z","timestamp":1733149617000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial: Venturing into Sounds of Space"],"prefix":"10.22501","author":[{"family":"William Ray Macauley","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T14:26:58Z","timestamp":1733149618000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/109716\/109717"}},"issued":{"date-parts":[[2014,12,1]]},"references-count":0,"journal-issue":{"issue":"08"},"URL":"https:\/\/doi.org\/10.22501\/jss.109716","published":{"date-parts":[[2014,12,1]]}},{"indexed":{"date-parts":[[2024,12,4]],"date-time":"2024-12-04T14:10:09Z","timestamp":1733321409385,"version":"3.30.1"},"posted":{"date-parts":[[2024,12,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Gaia's hair - intruding thoughts (Trailer)\n\nThis is the trailer for the film performance by Fernanda Branco: \nGaia's hair-intruding thoughts \nNorway, 2020 \n45 min\n\nImages by Margarida Paiva\n\nThe entire film can be seen on Vimeo with a requested password.<\/jats:p>","DOI":"10.22501\/rc.2907694","type":"posted-content","created":{"date-parts":[[2024,6,24]],"date-time":"2024-06-24T21:38:28Z","timestamp":1719265108000},"source":"Crossref","is-referenced-by-count":0,"title":["Gaia's Hair (Trailer)"],"prefix":"10.22501","author":[{"family":"Fernanda Branco","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,4]],"date-time":"2024-12-04T13:28:03Z","timestamp":1733318883000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2907694\/2907695"}},"issued":{"date-parts":[[2024,12,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2907694","published":{"date-parts":[[2024,12,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,1,23]],"date-time":"2025-01-23T05:22:14Z","timestamp":1737609734261,"version":"3.33.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2024,10,30]]},"abstract":"The project \u201cEchoes from the torn down fourth wall\u201d aims to build bridges between contemporary-music-as-an-art-form and community singing within songs from the Danish songbook \u2018H\u00f8jskolesangbogen\u2019. \nIn a hybrid concert format created for the project, within the context of an abstracted approach to intense, improvised concert music, several passages with community singing occur, where the audience sings along in songs they know. \nThe research process has investigated how to create a musical environment that might bridge the different positions (art music and community singing), how the idea of the listener\/spectator can be negotiated within different art domains and how, from a genre perspective, the project can be narrated as a meeting between confirming and destabilising forces. \nWhat is being reimagined in the project is not so much the past itself, and not necessarily established narratives about the past, but rather possible current and future narratives of how we may reinterpret songs from the past \u2013 together. What is being revealed is not so much specific perspectives in the past but rather hidden potentials in how a majority cultural assemblage like H\u00f8jskolesangbogen may be renegotiated.<\/jats:p>","DOI":"10.22501\/rmc.3026165","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:43:00Z","timestamp":1737542580000},"source":"Crossref","is-referenced-by-count":0,"title":["Echoes from the torn down fourth wall - UK version"],"prefix":"10.22501","author":[{"family":"Jacob Anderskov","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T10:43:00Z","timestamp":1737542580000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3026165\/3026166"}},"issued":{"date-parts":[[2024,10,30]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/rmc.3026165","published":{"date-parts":[[2024,10,30]]}},{"indexed":{"date-parts":[[2024,10,30]],"date-time":"2024-10-30T04:18:42Z","timestamp":1730261922824,"version":"3.28.0"},"posted":{"date-parts":[[2024,10,29]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The perception of the canon of post-war Western art music today is still strongly determined by a constructed dichotomy which keeps Western art music separate from evolutions and radical experiments in jazz and African-American music. The very extensive oeuvre and philosophical body of thought of the American composer Anthony Braxton, what he calls his Tri-Centric Thought Unit Construct (TCTUC), can be seen as the metaphorical elephant in the room. This unique oeuvre has been largely ignored to this day within the repertoire, discourse and performance practice associated with the canon of post-war Western art music. This research project takes Anthony Braxton's TCTUC as a starting point to see how I, as an interpreter of Braxton\u2019s music, can contribute to a broadening of this canon.\n\nMy intention with this research is to provide artistic responses to the gaps within the existing discourse on post-war Western art music (see Braxton, Lewis, Piekut, Born, a.o.) by approaching a wide selection of Braxton\u2019s compositions on his own terms. By putting these works as specific case studies on the agenda of relevant actors such as the conservatory, contemporary music festivals and concert series and through recordings and other media, I aimed to make a canon broadening possible through my practice as an interpreter. The results of this research, presented in the form of concerts, lectures, articles, workshops and recordings, are collected in this Research Catalogue website.<\/jats:p>","DOI":"10.22501\/rc.2120516","type":"posted-content","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T16:16:30Z","timestamp":1730218590000},"source":"Crossref","is-referenced-by-count":0,"title":["ANTHONY BRAXTON'S TRICENTRIC THOUGHT UNIT CONSTRUCT AND POST WAR WESTERN ART MUSIC"],"prefix":"10.22501","author":[{"family":"Kobe Van Cauwenberghe","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T16:16:30Z","timestamp":1730218590000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2120516\/2449530"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2120516","published":{"date-parts":[[2024,10,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:03Z","timestamp":1727194203620},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Macbeth Projeto is a performing arts project that used elements of Shakespeare\u2019s Macbeth as a framework for exploring different types of performativity. The central research question was \u2018how migration of dramatic text , migratory geography deconstruction of stasis and transformation of form create different aesthetic qualities and performative experiences\u2019? The project resulted in a series of novel rehearsal methodologies for adapting a dramatic text into a multisensorial performance via open rehearsal, creative workshops, and mixed visual and performing creative techniques. The project grew out of the researcher\u2019s previous work with Brazilian theatre \u2013 including two co-authored books; Brazilian Collaborative Theatre ( 2017) and Brazilian Performing Arts (2019).Shakespeare\u2019s original text was used as a framework for devising novel methodologies that combined different performance digital media methods with Brazilian collaborative contemporary theatre techniques. Rehearsals began with free collaborative improvisation workshops, out of which emerged material that was selected for further development. From this process the focus fell on the Act 3 scene 4, \u2018feast\u2019 scene. From this starting point, \u2018The Party\u2019, the relationship with Lady Macbeth, witches and ghosts became the key resources around which new narratives were developed. The research resulted in six performance cycles, each of which explored a different theatre form: Physical and group theatre; Site-specific, Solo-performance, Installation art, Augmented Reality, and Video\/Performance Art (created as a remote on-line devised performance). Collaborators and co-producers with CIPA on the research project were Centrala, Digbrew (Birmingham), International Federation of Theatre Research (IFTR), VUK Theatre (Belgrade), Prague Quadrennial, AHRC, Shanghai Theatre Academy, and Teatro Os Satyros (Sao Paulo). It has been performed at the Royal Birmingham Conservatoire (UK), IFTR, Prague Quadrennial of Performance Design 2019 and as part of an AHRC UK-China Creative Industries Partnership Development Programme with Shanghai Theatre Academy, Shanghai.<\/jats:p>","DOI":"10.22501\/rc.1077270","type":"posted-content","created":{"date-parts":[[2021,2,19]],"date-time":"2021-02-19T14:59:18Z","timestamp":1613746758000},"source":"Crossref","is-referenced-by-count":0,"title":["Macbeth Projeto"],"prefix":"10.22501","author":[{"family":"Maria Jose Martinez Sanchez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Aleksandar Dundjerovic","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:47:29Z","timestamp":1727192849000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1077270\/1077271"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1077270","published":{"date-parts":[[2020,12,18]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:07Z","timestamp":1727194207667},"posted":{"date-parts":[[2024,7,6]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition aims to provide insights into my artistic practice and research 'Tipping Points', working within the field of live electronics and focusing on the exploration of tipping points in chaotic processes. The activities associated with my practice are profoundly interdisciplinary and include designing and buildinginstruments, composing artistic works for these instruments, and performing with them. Each of these aspects are interlaced and equally important in the development of new artistic works. The preface details my process in the production of new artistic works. Then the text details my thoughts on the term comprovisation and how it informs my approaches to the development of my work. Then the focus shifts to describe how my use of chaotic processes turns instruments into actant technologies which has important consequences on both my performance practice and instrument design. These insights are then illustrated through reflections on my work Multiple Minds, concluding that the instrument itself is actively composing, while at the same time, the act of designing and building an instrument can be viewed as composing.<\/jats:p>","DOI":"10.22501\/rc.737676","type":"posted-content","created":{"date-parts":[[2024,7,6]],"date-time":"2024-07-06T12:26:06Z","timestamp":1720268766000},"source":"Crossref","is-referenced-by-count":0,"title":["Composing Composing Instruments"],"prefix":"10.22501","author":[{"family":"Tijs Ham","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:40:58Z","timestamp":1727192458000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/737676\/737677"}},"issued":{"date-parts":[[2024,7,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.737676","published":{"date-parts":[[2024,7,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:10:08Z","timestamp":1727194208086},"posted":{"date-parts":[[2022,5,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I am an artist researcher undertaking a Ph.D. by Published, Established, and Creative Works at Nottingham Trent University, entitled \u2018Soundwalking in Contested Space\u2019.\n\nSoundwalking 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. \n\nAlongside 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 \u2018the product of interrelations\u2019 and imaginable as \u2018a simultaneity of stories so far\u2019 (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. \n\nMy 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.\n.<\/jats:p>","DOI":"10.22501\/rc.1002201","type":"posted-content","created":{"date-parts":[[2022,5,1]],"date-time":"2022-05-01T09:17:18Z","timestamp":1651396638000},"source":"Crossref","is-referenced-by-count":0,"title":["Soundwalking in contested space"],"prefix":"10.22501","author":[{"family":"Andrew Brown","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:44:32Z","timestamp":1727192672000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1002201\/1002202"}},"issued":{"date-parts":[[2022,5,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1002201","published":{"date-parts":[[2022,5,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:40:03Z","timestamp":1727196003500},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,10,13]]},"abstract":"Even though the idea that \u201cspace and spatial experience as aesthetically central\u201d regarding its sonic attributes is a central topic in acousmatic music, it is also of interest for orchestral composers, especially from 20th century onwards. The sound of the 20th century is so broad that gives today\u2019s composers the potential of exploring a vast richness of \u201cfirst heard\u201d structures, that came as a result of the experiments and achievements of the past, and consequently to form their personal voice which can be relevant to it and capable to converse with it. A greater level of abstraction is needed in order to manage to condense what this knowledge offers to us and the consideration of space during the composition procedure seems to provide us a good starting point since many of the attributes of contemporary music could be included in it. Additionally it seems that a greater level of abstraction would not necessarily make the music less accessible to the audiences if such systems of abstraction take into account research into human physiology and considers the every-day environment. Regarding space in a macro structural level can provide us with the appropriate means to create an experience based on its phenomenology while contemplating its micro structure can lead us to results which are unifying sound qualities that otherwise could be considered to belong in different scopes.<\/jats:p>","DOI":"10.22501\/koncon.102482","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:47:14Z","timestamp":1725922034000},"source":"Crossref","is-referenced-by-count":0,"title":["Spatial awareness in instrumental music: Transformations of attention in a situation, becoming musical structure."],"prefix":"10.22501","author":[{"family":"Nikos Kokolakis","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:58:10Z","timestamp":1727193490000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/102482\/102483"}},"issued":{"date-parts":[[2016,10,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.102482","published":{"date-parts":[[2016,10,13]]}},{"indexed":{"date-parts":[[2024,12,19]],"date-time":"2024-12-19T05:20:12Z","timestamp":1734585612687,"version":"3.30.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,3,2]]},"abstract":"Between 1956 and 1968, the photographer Gholamreza Amirbegi captured a wealth of images from around his neighborhood in southwestern Tehran. At the time the city had just seen a major influx of working-class immigrants from the country\u2019s smaller municipalities. By re-narrating these materials, which evoke not only particular, local memories, but also distinct subaltern histories, this overlooked archive tells stories of social change from below in Iran, as seen in Gholamreza\u2019s subjects: global cinematic images, and unconscious colonial memory. By applying a comparative historical-material analysis, Khosravi Noori\u2019s aim here is to develop a practice based, multi-sited archaeology of contemporary history. This approach begins with an excavation of the historical materials themselves, in order to both discover lost identities in these images, and to displace them from sedimented historical positions. In doing this, he asks the question: What happens to the past from the vantage point of the future?<\/jats:p>","DOI":"10.22501\/vis.780138","type":"journal-article","created":{"date-parts":[[2020,3,2]],"date-time":"2020-03-02T13:13:46Z","timestamp":1583154826000},"source":"Crossref","is-referenced-by-count":0,"title":["The Life of an Itinerant through a Pinhole"],"prefix":"10.22501","author":[{"family":"Behzad Khosravi Noori","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,12,18]],"date-time":"2024-12-18T09:51:31Z","timestamp":1734515491000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/780138\/780139"}},"issued":{"date-parts":[[2020,3,2]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/vis.780138","published":{"date-parts":[[2020,3,2]]}},{"indexed":{"date-parts":[[2024,10,30]],"date-time":"2024-10-30T04:12:45Z","timestamp":1730261565268,"version":"3.28.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2024,10,29]]},"abstract":"SONIC EQUITY\n\nThis exposition investigates questions of inclusion, equity, and decolonisation through the central voice of the Brazilian berimbau. Drawing on the approaches of artistic research, musical case studies are employed to investigate the core concepts, including the solo berimbau work of Adriano Adewale, as well as duo dialogues between Adriano Adewale on berimbau and Nathan Riki Thomson on double bass, seen through the conceptual lens of third space. \n\nFindings emerge in terms of uncovering and reimagining the unique, experimental sonic possibilities of the berimbau and the ways they can be utilized for artistic expression in both solo and duo playing. Through shining a light on the unique possibilities of the berimbau, questions arise in terms of why this instrument and its interconnected traditions have not been given equal space and value within higher music education, highlighting the need for institutions to continually reassess their policies through the lens of decolonisation. \n\nThe artistic investigations further reveal issues related to the need for equity in music and music education, pointing towards a decolonised future where marginalized instruments such as the berimbau are given space and valued equally alongside all forms of musical expression. This connects back to the fundamental human need to be seen, acknowledged, and valued in our world, which is a commonality we can perhaps all relate to.\n\nKey words: berimbau, equity, decolonisation, interculturalism, higher music education, third space.<\/jats:p>","DOI":"10.22501\/ruu.2091988","type":"journal-article","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T08:16:57Z","timestamp":1730189817000},"source":"Crossref","is-referenced-by-count":0,"title":["SONIC EQUITY"],"prefix":"10.22501","author":[{"family":"Nathan Riki Thomson","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Adriano Adewale","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T08:16:57Z","timestamp":1730189817000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2091988\/2195474"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2091988","published":{"date-parts":[[2024,10,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:57Z","timestamp":1727238717313},"posted":{"date-parts":[[2023,10,30]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research explores the relations between human and instrumental voice (in the case of string instruments), seen from an embodied and performative point of view. The question originates from from my experience of violinist and composer.\nVoice is a unique mark of human identity: if this is particularly true for vocal timbre, something similar is at play in the \u2018instrumental voice\u2019, as a unique expression of personal and musical identity. This research aims to uncover the importance of the vocal and instrumental relations, acknowledging their common embodied nature and shared origins. As utterances directed at the \u2018other\u2019, both human and instrumental voice are deeply relational. \n\nFrom 2016 to 2022, I investigated the question of voicelikeness between a musician\u2019s voice and their own instrument through five multidisciplinary art projects: in Imaginary Spaces fragments of individual and collective voice inhabited a performative environment shared by musicians and audience; The end of no ending focused on the relationships between two female voices and their mutable surroundings; Between word and life explored the multiple relations of voice and instrument in an electroacoustic space, de-multiplied by bringing in dance and video; Sounding Bodies gathered human and mechanical bodies to explore an unconventional space, inviting the audience to follow their path; Medusa was a music theatre work putting into perspective the question of voicelikeness by evoking Italian Early Baroque music, visual art, and dance.\n\nThis artistic research was carried out through an artistic process, with supporting methods such as grounded theory, ethnography, and autoethnography, creating a virtuous cycle between practice and theory, with some interesting and unexpected changes taking place in my artistic journey. The research outcomes consist of a written part combined with a collection of traces, sounds, images, and video examples presented on the Research Catalogue.\n\nThe theoretical framework for this inquiry includes recent studies in paleoanthropology, human development, music psychology, and embodiment. Cavarero\u2019s philosophy of voice, Arendt\u2019s philosophy of the \u2018in-between\u2019, various philosophies of the \u2018other\u2019, as well as a few contributions from psychoanalysis are put in mutual dialogue with my artistic practice. \n\nAmong the research outcomes are the re-evaluation of vocal layers in personal and musical identity, considering music making as a relational practice, and an exploration of the porous boundaries between the roles of composer, performer, and listener. In this perspective, the new terms to \u2018in-hear\u2019 and to \u2018co-hear\u2019 respectively denote an attention to inner sounds, and toward one another in a community of listeners.\n\nKeywords: voicelikeness, artistic research, in-between, relationality, embodiment, performative space<\/jats:p>","DOI":"10.22501\/rc.511491","type":"posted-content","created":{"date-parts":[[2023,10,30]],"date-time":"2023-10-30T13:46:20Z","timestamp":1698673580000},"source":"Crossref","is-referenced-by-count":0,"title":["Human Voice and Instrumental Voice: An Investigation of Voicelikeness"],"prefix":"10.22501","author":[{"family":"Paola Livorsi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:10Z","timestamp":1727192530000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/511491\/2156581"}},"issued":{"date-parts":[[2023,10,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.511491","published":{"date-parts":[[2023,10,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:01Z","timestamp":1727238721461},"posted":{"date-parts":[[2021,3,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"'That's la Morte: Italian Cult Cinema and the Years of Lead' is an 80 minute documentary that considers how cult and horror film cycles came to reflect wider anxieties within 1970s Italy. The documentary comprises of archival and film data from the decade alongside interview interventions from leading filmmakers, producers, performers, screenwriters musicians and historians.<\/jats:p>","DOI":"10.22501\/rc.937512","type":"posted-content","created":{"date-parts":[[2021,3,22]],"date-time":"2021-03-22T13:55:35Z","timestamp":1616421335000},"source":"Crossref","is-referenced-by-count":0,"title":["That's La Morte: Italian Cult Cinema and the Years of Lead"],"prefix":"10.22501","author":[{"family":"Xavier Mendik","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:46:55Z","timestamp":1727192815000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/937512\/937513"}},"issued":{"date-parts":[[2021,3,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.937512","published":{"date-parts":[[2021,3,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:07Z","timestamp":1727238727667},"posted":{"date-parts":[[2012,3,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Artistic experience can be interpreted as an embodied sensing of frameworks. In artistic constructions of realities, cognitive experience (\u201eErfahrung\u201c) and aesthetic sensing (\u201eErleben\u201c) interfere. Based on an analysis of aesthetic relativity in general, and of the artistic perspective on reality in particular, an artistic form of \u201esensuous cognition\u201c can be described: a genuine artistic understanding of the world as a sheaf of intentional coupling and decoupling manifolds, like an sensuous gauge theory of mind in multiple realities. The main gain of this approach can be found in an epistemological practice of a specific kind of artistic research, aiming for embodied and therefore experienced knowledge.<\/jats:p>","DOI":"10.22501\/rc.20821","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:46Z","timestamp":1498067746000},"source":"Crossref","is-referenced-by-count":0,"title":["The Other Side of the Frame - Artistic Experience as Felt Framing. Fundamental principles of an artistic theory of relativity"],"prefix":"10.22501","author":[{"family":"Julian Klein","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:00Z","timestamp":1727193060000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/20821\/20822"}},"issued":{"date-parts":[[2012,3,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.20821","published":{"date-parts":[[2012,3,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:14Z","timestamp":1727238734690},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2019,6,28]]},"abstract":"Within a rapidly changing media landscape, light remains an intrinsic and potentially expressive aspect of moving imagery, regardless of the shape, form and resolution that specific capture and display devices might take. The practice of light in moving imagery is typically considered through an arrangement of sources, filters and modifiers that sculpt the aesthetic appearance of a two-dimensional frame and is often studied in relation to mainstream Hollywood films. This practice-research investigation seeks to compliment such discourse by extending the consideration of lighting practices beyond conventional cinematography to an installation context. Through the presentation of several artworks, this exposition reveals a distinction between the light \u2018of\u2019 an image and the light \u2018within\u2019 an image. It also explores the material considerations of a practitioner\u2019s control of projected light. Each artwork seeks to create an interoperation between analogue and digital moving imagery, weaving together various technologies in order to reveal an array of textures and qualities of light. Drawing primarily on autoethnographic notation captured during the creation of these artworks, as well as discussion of a range of film and video texts, this exposition investigates material tensions of mediated illumination.<\/jats:p>","DOI":"10.22501\/jar.458012","type":"journal-article","created":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T08:27:43Z","timestamp":1561710463000},"source":"Crossref","is-referenced-by-count":0,"title":["Passages of Light: Analogue and Digital Moving Image Installation."],"prefix":"10.22501","author":[{"family":"Alexander Nevill","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:31Z","timestamp":1727193151000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/458012\/458013"}},"issued":{"date-parts":[[2019,6,28]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/jar.458012","published":{"date-parts":[[2019,6,28]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:19Z","timestamp":1727238739376},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,12,31]]},"abstract":"30 years after the publication of F\u00e9lix Guattari\u2019s \u201cThe Three Ecologies,\u201d we are facing a turning point in the way we are encountering our environment. Established concepts of \u201cnature\u201d have proved to be considerably part of a grand homocentric design whose spatiality Peter Sloterdijk poignantly defined as the \u201cWorld Interior of Capital.\u201d To investigate these capitalocenic strata, it becomes necessary to re-territorialize institutionalized debates, conceptions and practices, and perceive contemporary landscapes as manifold, unknown and peripheral alterities. \n\nThis research exposition aims to encounter the capitalocenic field, its actors and inherent specificities, and to propose a peripheral methodology for its investigation. According to its etymological roots, periphery not only implies a field or site at \u201cthe outer surface\u201d, but also refers to the Greek verb periph\u00e9r\u014d, meaning \u201cto carry around.\u201d This adds a proto-ethical component, as we become part of a carrying and compassionate interplay with virtual forces of capitalocenic dominance, violence, and destruction. \n\nIn this intimate moment of becoming peripheral, we are striving from the grand institutional narrative towards the fragility of an uncertain world interior. To F\u00e9lix Guattari, this is an act of empathy, of an affective affinity and imaginary re-construction that unfolds new practices, grounds, and epistemologies of how to encounter our manmade planet. Furthermore, it highlights the importance of peripheral discourse on the edge of the planetary crisis, and unfolds a vibrant and democratic borderspace within the all-encompassing ecological trauma. \n\nDeparting from Victor Turner\u2019s \u201csocial drama\u201d and the unpredictability of a global monetary system, the research exposition focuses on the specific context of Iceland as a knot geographically located within the global fabric of the Capitalocene. Being the site of a massive banking crisis between 2008 and 2011, the island-state is seen as an artificial environment of capitalist warfare, based on an ecosystem of virtual forces that actualize themselves on a social, economic, cultural or ecological level. \n\nApplying a situated performative research praxis, the research exposition affirmatively investigates this manifold and monetary-driven spatiality. As the research exposition suggests, performative research allows to confront the unpredictability of the capitalocenic field in all its complexity and to pave the way for \u201cvanquishing [...] or even befriending\u201c the dominant forms of global financial market capitalism\u201d (Gilles Deleuze, Logic of Sensation). \u201cJust a mere Spring to take\u201d is a discursive assemblage of various investigative highlights on a virtual, global and elusive phenomenon, aiming at peripherically unfolding horizons of performative thinking, and enabling a fragile intra-active confrontation with our vertiginous, traumatized but still living cosmos.<\/jats:p>","DOI":"10.22501\/ruu.573767","type":"journal-article","created":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T10:39:21Z","timestamp":1577788761000},"source":"Crossref","is-referenced-by-count":0,"title":["Just a mere Spring to take: Embedding in Capitalocenic Atmospheres"],"prefix":"10.22501","author":[{"family":"Christoph Solstreif-Pirker","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:41Z","timestamp":1727193701000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/573767\/573768"}},"issued":{"date-parts":[[2019,12,31]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/ruu.573767","published":{"date-parts":[[2019,12,31]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:24Z","timestamp":1727238744629},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: Casting a Shadow. On Disappearance, Emptiness, and the Haunting Power of Absence, Supervisor: Judith Eisler\n\nEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>","DOI":"10.22501\/envelo.2738062","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T11:25:42Z","timestamp":1715599542000},"source":"Crossref","is-referenced-by-count":0,"title":["The material Thickness of Time"],"prefix":"10.22501","author":[{"family":"Cristiana de Marchi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:05:10Z","timestamp":1727193910000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2738062\/2738063"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2738062","published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:32:26Z","timestamp":1727238746970},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,1,24]]},"abstract":"This is a presentation of the project \u201cMusic with the Real\u201d, undertaken from 2014\u20132017 within the Norwegian Artistic Research Programme, at the Norwegian Academy of Music. The artists in the project were percussionist H\u00e5kon Stene, the composers Carola Backholt, Matthew Shlomowitz, Henrik Hellstenius, Johannes Kreidler and Clemens Gadenst\u00e4tter, and the ensemble Asamisimasa. In this exposition you find all the works that was composed in the project together with articles about the project and videos from concerts and seminars.<\/jats:p>","DOI":"10.22501\/rc.460019","type":"journal-article","created":{"date-parts":[[2019,1,23]],"date-time":"2019-01-23T10:22:34Z","timestamp":1548238954000},"source":"Crossref","is-referenced-by-count":0,"title":["Music with the Real"],"prefix":"10.22501","author":[{"family":"Henrik Hellstenius","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"H\u00e5kon M\u00f8rch Stene","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Jonas Howden Sj\u00f8vaag","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Peter Knudsen","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:36Z","timestamp":1727194116000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/460019\/460020"}},"issued":{"date-parts":[[2019,1,24]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/rc.460019","published":{"date-parts":[[2019,1,24]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:16Z","timestamp":1727238676216},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,6,13]]},"abstract":"The harpsichord enjoyed a preponderant role at the end of the 17th century, not only on its own but, in the words of C. P. E. Bach, as an instrument \"entrusted [...] with full command\" and \"in the best position to assist [...] the entire ensemble in maintaining a uniform pace.\"\n\nThe following is a study of the aspects related to ensemble leadership as exerted by the harpsichordist. For this, this research draws conclusions from historical sources in regards to the influence of the basso continuo realization in the ensemble, and other non-verbal communication devices (such as gestures) in order to reveal a global picture of this kind of leadership that was particularly prevalent at the time.<\/jats:p>","DOI":"10.22501\/koncon.1813749","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:57Z","timestamp":1725921417000},"source":"Crossref","is-referenced-by-count":0,"title":["LEADING FROM THE HARPSICHORD: A HISTORICAL INFORMED APPROACH TO EARLY MUSIC 'CONDUCTING'"],"prefix":"10.22501","author":[{"family":"Pablo Devigo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:23Z","timestamp":1727193323000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1813749\/1813748"}},"issued":{"date-parts":[[2023,6,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1813749","published":{"date-parts":[[2023,6,13]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:19Z","timestamp":1727238679928},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,5,25]]},"abstract":"Phoebe Kirrage\nClassical Singing \nResearch Supervisor: Anna Scott\nBritten's Folksong Arrangements and Their Traditional Counterparts\nQuestion: How do the Britten Folksong arrangements relate to their traditional counterparts, with an emphasis on text? \nThis research explores the relationship between traditional British folk songs and their Benjamin Britten counterparts.\nThe function of this research is to create a new relationship between the original songs and their values and the impressions brought about by Britten through his edits. Primarily through harmonic arrangements, changes in melody and textual edits made by Britten.\nBoth folk and classical music have been crucial components in my life and have shaped me as a performer. There have been a great number of folk songs and tunes arranged for classical music yet there is very little dialogue between the two styles.\nI have used a combination of my own fieldwork, interviews, rehearsals, recordings and historical research to create an in depth research into the differences made to the traditional songs by Britten in his arrangements. The final results have come to fruition in the creation of an in depth analysis of the differences between the arrangements and the songs, and a full recording of the sixth book of folk songs with guitar. The outcome is a combination of the two musical styles to create a new sound. A concert will follow in which the new arrangements will be performed in a space and atmosphere inspired by both classical and folk performance spaces. A noticeable difference in my classical performing has also come about through the research into storytelling and freeness in folk performance in combination with classical performance. \nPhoebe Kirrage is a British soprano, having previously studied Musicology at Royal Holloway University of London, she is now pursuing her masters degree in classical singing under the teaching of Noa Frenkel. Having sung from a very early age, Phoebe has had the privilege of performing in some of the UKs most prestigious performance venues, including The Royal Albert Hall and The Barbican. In the Netherlands Phoebe has had the opportunity to perform in spaces such has the Grote Zaal in TivoliVredenburg. Upcoming performances include Britten's Turn of the Screw and Psalm 42 by Mendelssohn.<\/jats:p>","DOI":"10.22501\/koncon.708929","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:41:54Z","timestamp":1725921714000},"source":"Crossref","is-referenced-by-count":0,"title":["Britten Folksongs and Their Traditional Counterparts"],"prefix":"10.22501","author":[{"family":"Phoebe Kirrage","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:57:05Z","timestamp":1727193425000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/708929\/723313"}},"issued":{"date-parts":[[2020,5,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.708929","published":{"date-parts":[[2020,5,25]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:20Z","timestamp":1727238680395},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,11,29]]},"abstract":"Py\u00f6r\u00e4ily tapahtuu osin py\u00f6r\u00e4ilij\u00e4n subjektiivisen ja affektiivisen elinpiirin (Umwelt) m\u00e4\u00e4ritt\u00e4m\u00e4ss\u00e4 utooppisessa ulottuvuudessa, vain osittain n\u00e4kyv\u00e4\u00e4n maailmaan kiinnittyen. Vaikka uskoisimme kaikkien olevan kartalla, Liikenne ty\u00f6ntyy hyperobjektisine lonkeroineen py\u00f6r\u00e4ilij\u00e4n kokemuksen p\u00e4\u00e4lle sis\u00e4ltym\u00e4tt\u00e4 siihen t\u00e4ysin. Py\u00f6r\u00e4ll\u00e4 liikkuja pelastautuu utooppisen ruumiinsa kautta toisaalle. Minne, sit\u00e4 emme tarkkaan tied\u00e4. Er\u00e4s utooppisen ruumiin sijainneista on toiminta villin py\u00f6r\u00e4ilyn maailmassa. Se on utooppinen liikenneymp\u00e4rist\u00f6n ylitt\u00e4v\u00e4 olotila, jossa tuuli lenn\u00e4tt\u00e4\u00e4 py\u00f6r\u00e4ilij\u00e4\u00e4, varikset raakkuvat tai sitten jotain ihan muuta.<\/jats:p>","DOI":"10.22501\/ruu.1173187","type":"journal-article","created":{"date-parts":[[2021,11,29]],"date-time":"2021-11-29T12:44:33Z","timestamp":1638189873000},"source":"Crossref","is-referenced-by-count":0,"title":["UTOOPPISTEN RUUMIIDEN VILLI PY\u00d6R\u00c4ILY"],"prefix":"10.22501","author":[{"family":"Vappu Susi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:27Z","timestamp":1727193567000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1173187\/1173197"}},"issued":{"date-parts":[[2021,11,29]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1173187","published":{"date-parts":[[2021,11,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:28Z","timestamp":1727238688675},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,11,6]]},"abstract":"The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico Garc\u00eda Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc\u2019s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. \n\nEverything about the Spanish poet\u2019s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc\u2019s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are \u2018to the memory of\u2019 the individual named. \n\nAs Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a \u2018survivor\u2019s anguish\u2019, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet\u2019s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the \u2018Trois Chansons de Federico Garc\u00eda Lorca\u2019. \n\nThis exposition attempts to unfold aspects of the two men\u2019s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc\u2019s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer\u2019s works, especially his cycle setting poems of Guillaume Apollinaire: \u2018Calligrammes\u2019. Composed a year after the \u2018Trois Chansons de Federico Garc\u00eda Lorca\u2019, this intricately wrought collection of seven m\u00e9lodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of \u2018unheard voices\u2019 and \u2018unseen shadows\u2019 enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.<\/jats:p>","DOI":"10.22501\/nmh-ar.621671","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T12:08:27Z","timestamp":1618315707000},"source":"Crossref","is-referenced-by-count":0,"title":["The unheard voice and the unseen shadow"],"prefix":"10.22501","author":[{"family":"Jeremy Cox","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:08:34Z","timestamp":1727194114000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/621671\/621672"}},"issued":{"date-parts":[[2019,11,6]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.621671","published":{"date-parts":[[2019,11,6]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:00Z","timestamp":1727238660503},"posted":{"date-parts":[[2024,5,31]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Esta p\u00e1gina web recoge la memoria del proyecto narraci\u00f3n gr\u00e1fica a partir del proyecto Narraci\u00f3n gr\u00e1fica, laboratorio de objetos, cartograf\u00eda digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con C\u00f3d. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Cient\u00edfico - CIDC de la Universidad Distrital Francisco Jos\u00e9 de Caldas.\n\nHace parte del proceso metodol\u00f3gico de desarrollo de la tesis doctoral Narraci\u00f3n Gr\u00e1fica de Experiencias: Intercambios en Im\u00e1genes de migraci\u00f3n.\n\nComo Laboratorio de investigaci\u00f3n - creaci\u00f3n ha indagado y trabajado en sus 17 a\u00f1os de existencia en procesos de creaci\u00f3n, gesti\u00f3n, investigaci\u00f3n, formaci\u00f3n y producci\u00f3n de conocimiento desde tres l\u00edneas de trabajo:\n\n- Imagen, arte y cultura: como campo de pr\u00e1cticas pedag\u00f3gicas y estudios de la cultura; donde se cruzan diversos discursos sobre la identidad, los procesos de memoria, lo simb\u00f3lico, es de inter\u00e9s la sistematizaci\u00f3n de pr\u00e1cticas art\u00edsticas en donde surgen experiencias generadoras de conocimiento sensible.\n\n- El conocimiento libre: Trabaja en la elaboraci\u00f3n conceptual de talleres y laboratorios de creaci\u00f3n con procesos que se desarrollan desde el concepto de cultura hacedora, promueve el aprendizaje activo, la colaboraci\u00f3n abierta, el D.I.Y. y su aplicaci\u00f3n en diversos escenarios y contextos.\n\n- La narrativa y la lectura: Se han trabajado procesos de mediaci\u00f3n y agenciamiento desde hace mas de 15 a\u00f1os, acompa\u00f1a sus procesos desde el estudio y elaboraci\u00f3n de propuestas creativas que refieren a la narraci\u00f3n gr\u00e1fica y los cruces generados entre las nociones de objeto, plataforma, libro, p\u00fablico y sus relaciones en los procesos de difusi\u00f3n, promoci\u00f3n, producci\u00f3n, edici\u00f3n y dise\u00f1o de piezas interactivas.\n\nEste proceso fue concebido por Daniel Pinz\u00f3n Lizarazo quien es Doctorando en Estudios Art\u00edsticos de la Universidad Distrital, Mag\u00edster en Escrituras Creativas de la Universidad Nacional de Colombia, Diplomado en Antropolog\u00eda del arte de Latir A.C. y el CIESAS en M\u00e9xico, Diplomado en estudios editoriales por el Instituto Caro y Cuervo; Licenciado en educaci\u00f3n art\u00edstica de la Universidad Distrital, trabaja como docente, investigador y creador, ha sido gestor y asesor en el dise\u00f1o de pol\u00edticas referentes a las pedagog\u00edas del arte y la cultura.<\/jats:p>","DOI":"10.22501\/rc.1745818","type":"posted-content","created":{"date-parts":[[2024,5,31]],"date-time":"2024-05-31T10:47:26Z","timestamp":1717152446000},"source":"Crossref","is-referenced-by-count":0,"title":["Graphic Storytelling"],"prefix":"10.22501","author":[{"family":"Pinz\u00f3n Lizarazo Oscar Daniel","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:13Z","timestamp":1727192473000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1745818\/2743509"}},"issued":{"date-parts":[[2024,5,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1745818","published":{"date-parts":[[2024,5,31]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:05Z","timestamp":1727238665038},"posted":{"date-parts":[[2023,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this exposition (text, videos, photos) I discuss a series of participatory lecture performances as one major outcome of my artistic research on dance improvisation in and for science and technology oriented higher education. These lecture performances aim to give different stakeholders in the science field an initial insight into dance improvisation and to facilitate discussion of its potential for the scientific learning, teaching and research culture. From the perspective of a dance artist and artistic researcher, I trace the details of how and why I created events for scientists to encounter dance improvisation through shared exploration and shared reflection. Interlacing descriptive and reflective writing, I unfold the argument that by engaging in improvisation as an embodied recognition practice, reflective processes can be set into motion, which critically question habituated forms of bodily, social and epistemological exclusions within academia. In other words, by conceptualising dance improvisation as recognition practice, I hope to shed light on its critical potential which exceeds questions of spontaneity and creativity.<\/jats:p>","DOI":"10.22501\/rc.1937930","type":"posted-content","created":{"date-parts":[[2023,6,3]],"date-time":"2023-06-03T14:00:38Z","timestamp":1685800838000},"source":"Crossref","is-referenced-by-count":0,"title":["Embodying Recognition: Dance Improvisation for Scientists"],"prefix":"10.22501","author":[{"family":"Susanne Martin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:53Z","timestamp":1727192573000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1937930\/1937931"}},"issued":{"date-parts":[[2023,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1937930","published":{"date-parts":[[2023,6,3]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:06Z","timestamp":1727238666886},"posted":{"date-parts":[[2021,6,23]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Short article about the historical development of the Russian school of singing in the 19th century<\/jats:p>","DOI":"10.22501\/rc.1230085","type":"posted-content","created":{"date-parts":[[2021,9,29]],"date-time":"2021-09-29T01:07:13Z","timestamp":1632877633000},"source":"Crossref","is-referenced-by-count":0,"title":["Russian school of singing in the 19th century"],"prefix":"10.22501","author":[{"family":"Orsolya\u00a0Janszov\u00e1","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:45:37Z","timestamp":1727192737000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1230085\/1230084"}},"issued":{"date-parts":[[2021,6,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1230085","published":{"date-parts":[[2021,6,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670859},"posted":{"date-parts":[[2015,8,24]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Can pieces of dance tunes from Nordic folk music, organized according to principles from jazz, provide source material for building an improvisation language?\n\nScandinavian folk music traditionally used for dancing consists of melodies, organized in a limited amount of measures and sections (typically two or three eight-bar sections, played with repeats). The organizing principle in ensemble playing is for every musician to learn the melody first, and to let each following contribution be dictated by it. Variations in arrangements occur frequently in modern-day interplay, with harmony parts, chord changes, counter rhythms and dynamics meticulously employed in order to avoid monotony. But interpretation of the melody remains the main activity.\n\nThe ability for creativity on the spot is big among folk musicians, though it is seemingly framed by the strategies discussed above. I have yet to come across a methodical investigation of using material from traditional tunes as a musical vocabulary for improvisation. Consulting supervisors from the folk and jazz genres, I try to use source elements from the folk repertoire while employing organizing principles from jazz. As I present these ideas on several instruments, and over rhythmic foundations in a slightly modernized folk idiom, I'll try to encourage the use of these ideas in contexts not necessarily associated with traditional music. The project seeks to encourage participation, and may possibly work as tutorial material.\n\nThis exposition focuses on portions of a Pd.D.-level project I finished in 2009. The original three-year undertaking was supported by the Norwegian Artistic Research Programme, hosted by NTNU, and was supervised by John-P\u00e5l Inderberg and Geir Egil Larsen. The current version was supported by HiNT University College.<\/jats:p>","DOI":"10.22501\/rc.148237","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:53:38Z","timestamp":1498067618000},"source":"Crossref","is-referenced-by-count":0,"title":["FolkImproV"],"prefix":"10.22501","author":[{"family":"Andreas Aase","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:49:58Z","timestamp":1727192998000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/148237\/149611"}},"issued":{"date-parts":[[2015,8,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.148237","published":{"date-parts":[[2015,8,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:10Z","timestamp":1727238670578},"posted":{"date-parts":[[2020,2,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Net art for unrealized site-specific performing arts installation, 2020\n\nThe exposition shows fragments of work prepared for an unrealized interactive site-specific public installation at Siobhan Davies Dance Studios, South London. The installation would include dance performance, video\/photography and structures with objects. \n\nThe work was produced at different times between the winter and summer of 2011. The installation was to be a collaboration with dance artist Susanna Recchia and photographer Rachel Cherry. Audiences would traverse or remain on site as long as they wished.\n\nThe Critical Pathways workshop by choreographer and artist Rosemary Butcher served as the starting point. Walking journeys allowed for emerging themes, such as pilgrimage, walking-the-lifeline and potentiality. The concepts of the moving body and the plane tree, a variety imported into the city, became intertwined. The performers would enact processes related to journeying and nomadism. The installation would create a virtual landscape of remoteness: a place for reflection.\n\nRevisiting these works, I draw from Deleuze and Guattari's notion of becoming animal to suggest that we rethink the notion of animal via the concept of the plan(e)\/plateau. Deleuze and Guattari's advancement of the notion of the plan(e), from a metaphoric articulation of processes of translation into a conceptual apparatus of intersection across forms, enables the co-existence of multi-dimensional multiplicities against their reduction to two dimensions. The plane is one of consistency that is sustained across multiplicities. If it is the plane of Nature in the Deleuzian sense of natural history, it allows for the infinite multiplicity of individuals. Entering the plan(e)\/plateau, one becomes part of an individuated assemblage depending on their relations of movement.\n\nIn memory of Rosemary.<\/jats:p>","DOI":"10.22501\/rc.789146","type":"posted-content","created":{"date-parts":[[2020,2,8]],"date-time":"2020-02-08T07:30:01Z","timestamp":1581147001000},"source":"Crossref","is-referenced-by-count":0,"title":["1 Day Artwork"],"prefix":"10.22501","author":[{"family":"Zoe Panagiota (aka Betty) Nigianni","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:48:24Z","timestamp":1727192904000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/789146\/789147"}},"issued":{"date-parts":[[2020,2,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.789146","published":{"date-parts":[[2020,2,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:31:11Z","timestamp":1727238671972},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,12,29]]},"abstract":"This exposition contemplates the collaboration between me, a photographer, and remote sensing researchers from the Department of Geoinformatics at Aalto University, in an ongoing artistic research collaboration called Ground Truth. Ground Truth is a photography project about \u2018seeing something when there\u2019s nothing there\u2019. Based in the research group\u2019s initial intent to overcome the spatial resolution limits of satellite imagery, the project now investigates new imaging techniques such as computational photography and hyperspectral imaging of forests, while also referencing photography\u2019s love affair with natural landscapes. Such a comparative approach to natural photography has allowed me to offer a vision that typically escapes human sight perception. \n\nI open this auto-theoretical text with a personal experience, namely being on a field trip with remote sensing scientist Daniel Schraik. I use this moment to, among other things, articulate my thoughts on the construction of the \u2018real\u2019 in different disciplines. I then contemplate the body of interviews and field trips that became a two-year-long interdisciplinary dialogue, and also brought together two distinct ways of looking at the forest: one symbolized by the camera, another by the terrestrial laser scanner. Inspired by remote sensing concepts such as ground truth and the inverse problem, I have come to examine photography through a new analytical framework. \n\nIn everyday language, the term \u2018ground truth\u2019 refers, in part, to a first-hand experience. In our project, it makes sense, then, that Ground Truth connotes the documentary tradition and the act of witnessing. In the language of science, however, and specifically in remote sensing as a field, ground truth means something different. It refers to data collected on-site, which can then be used to calibrate, to build models, to predict, to interpret, and to decipher information from images; in this case, satellite images. Similarly, our interdisciplinary collaboration functions on another operational layer of photography beneath the immediately visible, one that illustrates an expanded notion of photography across contemporary discourse. Ground Truth interweaves archival imagery, documentary photography, experiment dataset, 3D digital art and conceptual photography. The constellation of employed elements contrasts the representational approaches of drawing and photography with the data-oriented and algorithmic approaches of computer-aided seeing. The two modes together allow for a parallel reading of the forest \u2014 one that contextualizes different epistemological regimes that allow for new configurations of the relationship between image and reality.<\/jats:p>","DOI":"10.22501\/jar.1265334","type":"journal-article","created":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T11:24:18Z","timestamp":1672313058000},"source":"Crossref","is-referenced-by-count":0,"title":["Spotting A Tree From A Pixel (With Remote Sensing Researchers)"],"prefix":"10.22501","author":[{"family":"Sheung Yiu","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:33Z","timestamp":1727193093000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1265334\/1869636"}},"issued":{"date-parts":[[2022,12,29]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jar.1265334","published":{"date-parts":[[2022,12,29]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:26Z","timestamp":1727238626675},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,5,23]]},"abstract":"\u2202 Topological Landscapes (2015\u2013ongoing) is a multisensory environment that comprises three projects, all based on research into the controversial healing instruments designed by Southern California inventor Royal Raymond Rife (Nebraska, 1888\u2013California, 1971). Rife\u2019s early twentieth-century scientific work involved light microscopy, frequency theory, and the concept of pleomorphism, which he applied to study formal differentiation in viral cells. One of Rife\u2019s aims was to develop methods and mechanisms that would allow him to use frequencies to kill viruses. \n\u2202 (curly d) is the symbol for \u2018boundary\u2019 in general topology. In this research, it is employed as a mathematical symbol that links the study of shifting material surfaces with an inquiry into the fluctuating borders between art and science. It posits that abandoned possibilities in scientific error and failed experiments may harbour other futures.\nIn its three projects, \u2202 Topological Landscapes works with different technologies of reproduction using 3D animation, 3D printed sculpture, sonification, and prototype-making to explore findings from various attempts to replicate Rife\u2019s instruments. The necessary information for creating these replications was gathered from the object archive of the Science Museum of London and from the two former sites of the inventor\u2019s research: the Scripps Institute of Oceanography in La Jolla, San Diego, and the Linda Vista Hospital in Los Angeles.<\/jats:p>","DOI":"10.22501\/jar.817407","type":"journal-article","created":{"date-parts":[[2021,5,22]],"date-time":"2021-05-22T22:01:37Z","timestamp":1621720897000},"source":"Crossref","is-referenced-by-count":0,"title":["\u2202 Topological Landscapes"],"prefix":"10.22501","author":[{"family":"Andr\u00e1s Blazsek","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:52:09Z","timestamp":1727193129000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/817407\/817408"}},"issued":{"date-parts":[[2021,5,23]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/jar.817407","published":{"date-parts":[[2021,5,23]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:28Z","timestamp":1727238628934},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In artistic research, the \u2018reflective practice\u2019 promoted by Donald Sch\u00f6n (1983) runs the risk of mere self-gratification. More perspectives need to be put into the equation, into something more \u2018diffractive\u2019, as Donna Haraway (1997) would say.\n\nAs part of artistic research we could be inspired by, and use, a wide range of methods for navigating a research process and take the journey into safer waters. Here we<\/jats:p>","DOI":"10.22501\/jar.7967","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T22:37:09Z","timestamp":1497998229000},"source":"Crossref","is-referenced-by-count":0,"title":["Research Navigations"],"prefix":"10.22501","author":[{"family":"Otto von Busch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:54:35Z","timestamp":1727193275000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/7967\/7968"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.7967","published":{"date-parts":[[2011,11,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:14Z","timestamp":1727238614094},"posted":{"date-parts":[[2023,9,1]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this thesis, I make a personal reflection on how the dramaturgical concept of the feature film \u201cParvet\u201d was created. The aim of the project is to build dramaturgical tools that would benefit voices that are currently marginalized in Finnish film and television. The \u201cParvet\u201d film focuses on experiences as a racialized or indigenous person, and as a non-binary trans person in Finland in 2023 and deals also with the representation of people with learning disabilities, while most crew members in the production, including me, are white, non-disabled and cis-gendered. The central questions in the thesis are:\n\n\u2022\tHow did using feminist decolonial theories and my previous experiences in collaborative filmmaking inspire the methodological framework for the concept of \"Parvet\"?\n\n\u2022\tHow can autobiographical minority experiences be adapted to fiction film by providing agency to the performers by rearranging artistic decision-making power between the auteur-director, the performers, and the designers in the crew?\n\n\u2022\tHow does \"Parvet\" navigate the complex interplay of collaborative filmmaking within a project centered on minority topics while operating in an environment and industry dominated by structural whiteness?\n\nCreating \u201cParvet\u201d took place in 2022\u20132023. The film is directed by Hannaleena Hauru and Katja Gauriloff and produced by Emilia Haukka. The production is a collaboration between Aamu Film Company and Uniarts Helsinki's Theatre Academy. \u201cParvet\u201d will premiere in 2024. The thesis was written in the Summer\u2013Autumn of 2023, while \u201cParvet\u201d has still been in post-production.<\/jats:p>","DOI":"10.22501\/rc.2269610","type":"posted-content","created":{"date-parts":[[2023,9,1]],"date-time":"2023-09-01T08:25:32Z","timestamp":1693556732000},"source":"Crossref","is-referenced-by-count":0,"title":["Collaborative Dramaturgies in Filmmaking"],"prefix":"10.22501","author":[{"family":"Hannaleena Hauru","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:42:30Z","timestamp":1727192550000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2269610\/2269611"}},"issued":{"date-parts":[[2023,9,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2269610","published":{"date-parts":[[2023,9,1]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:20Z","timestamp":1727238620180},"posted":{"date-parts":[[2024,3,2]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This supportive narrative is connected to the graduation project 'The Institute of Constrained Chaos' (TIOCC) which investigates the use of chaotic processes in order to enhance musical expression of a live electronics performance. Inspired by the chaotic, expressive, musical power of overblown brass instruments, the project aims to develop a live electronics performance that utilizes a combination of new and existing hardware and software such as no-input mixing, circuit bending, digital signal processing and sensor based controlling to create an instrument that navigates the musical edges between order and chaos. The project has resulted in a ten minute improvised performance in collaboration with Bart van Gemert, a drummer, as part of a concert series organized and executed by a group of HKU graduate students operating under the name 'Custom Made Music' (CMM). Through many tryout concerts and several iterations of the instrument it can be concluded that the use of chaotic processes can enrich the expressive musicality of a live electronics performance.<\/jats:p>","DOI":"10.22501\/rc.2625512","type":"posted-content","created":{"date-parts":[[2024,3,2]],"date-time":"2024-03-02T13:13:23Z","timestamp":1709385203000},"source":"Crossref","is-referenced-by-count":0,"title":["The Institute of Constrained Chaos"],"prefix":"10.22501","author":[{"family":"Tijs Ham","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:41:31Z","timestamp":1727192491000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2625512\/2625511"}},"issued":{"date-parts":[[2024,3,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2625512","published":{"date-parts":[[2024,3,2]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:21Z","timestamp":1727238621353},"posted":{"date-parts":[[2023,5,26]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Media repository published as part of Halla Steinunn Stef\u00e1nsd\u00f3ttir's doctoral thesis 'H\u00c9R! An Exploration of Artistic Agency' (2023). See here: https:\/\/bit.ly\/LUResearchPortal\n\nAbstract:\nThis doctoral thesis is concerned with agency in the work of a performer, curator, and composer, and how these agencies are socio-culturally constructed. Grounded in creative practice as primary research methodology, the project builds on feedback loops between creation, analysis, and interpretation. The aim is to better understand the conventional norms that define the roles of composer and performer and, further, to explore more dynamic approaches to these agencies through the perspectives of a composer, performer, and curator active in the fields of contemporary music and sound art. The project responds to the following research questions:\n\no How can ecological-enactive and post-phenomenological perspectives on musical practice within Western classical music challenge current understandings of the roles of performer and composer?\no What artistic methods can be employed to provide a more robust understanding of the fluidity of these roles, to uncover their potential for artistic renewal in the creation and performance of contemporary music?\n\nThe research was designed as a series of micro-laboratories to look at agency through artistic collaboration in situations set in the concert hall, the recording studio, the virtual domain, and ecological sound art. This resulted in electroacoustic compositions, multi-channel installations, and site-specific work, including performances within a sonic hologram and with artificial intelligence. The analytical approach was built on autoethnography, and audio and video analysis through stimulated recall.\n\nThe findings outline how the technological, non-human, and human agencies of environments affect and shape processual work. The analysis highlights how co-relation between theory and practice may both serve to unpack the pre-conditioning of agency, while the artistic experimentation in the laboratories seeks to explore other agential relations. Here, the intentionality of the technologies used in the lab have unfolded new perspectives on the conventional roles of composer and performer, while enabling the development of more dynamic practices. Through a study of the author\u2019s curatorial practice, the role of a curator is understood not as defined by prescribed methods, but rather as dependent on the negotiation of the many agencies at play in artistic practice. The method development of the project has implications for the design of artistic research through the model of the laboratory. Herein, the use of audio and video technologies, particularly their application within stimulated recall methods, are integrated parts of analysis and artistic creation. The artistic research laboratory is proposed as a framework through which the potential of artistic research in music\u2014as a vehicle for the development of new practices in professional contexts and in teaching environments\u2014is substantiated and facilitated.<\/jats:p>","DOI":"10.22501\/rc.2109128","type":"posted-content","created":{"date-parts":[[2023,5,26]],"date-time":"2023-05-26T11:04:35Z","timestamp":1685099075000},"source":"Crossref","is-referenced-by-count":0,"title":["H\u00c9R! An Exploration of Artistic Agency - Media Repository"],"prefix":"10.22501","author":[{"family":"Halla Steinunn Stef\u00e1nsd\u00f3ttir","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:43:04Z","timestamp":1727192584000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2109128\/2109129"}},"issued":{"date-parts":[[2023,5,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2109128","published":{"date-parts":[[2023,5,26]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:30Z","timestamp":1727238630295},"posted":{"date-parts":[[2012,2,25]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"ONE DOUBLE BODY\/Conversations with The Fish is based on the research of the inner forces within one's body. These forces are perceived as a causality. Each person\/performer has \nmany different bodies, and those bodies are interrelated and influence each other all the time. Their mutual influence is most of the time mechanic. In this work I underline those aspects of the bodies and try to make them visible on the stage. Thematically, ONE DOUBLE BODY is based on the real-time rite de passage experience of a performer\/woman: pregnancy, labour and becoming a mother.<\/jats:p>","DOI":"10.22501\/rc.17701","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:49Z","timestamp":1498067749000},"source":"Crossref","is-referenced-by-count":0,"title":["ONE DOUBLE BODY"],"prefix":"10.22501","author":[{"family":"Branka Zgonjanin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:05Z","timestamp":1727193065000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/17701\/17702"}},"issued":{"date-parts":[[2012,2,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.17701","published":{"date-parts":[[2012,2,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:31Z","timestamp":1727238631292},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,15]]},"abstract":"How can a classical performing violinist develop a practice method which serves for expanding their active musical vocabulary and applying it in an improvised interlude during a concert?\n\nThe objective of this research is to explore practice methods which helps one create improvisations inserted in between composed pieces of a concert programme. The main goal is to create a common thread in a program with an otherwise varied repertoire. This research identifies and compares the practice methods that can be used to achieve this goal. The methodology is based on the study of academic and educational sources, autoethnography, experiments in the form of performances, a questionnaire for the audience, interviews with experts and recording of work in the practice room. The improvisation played in between two compositions is called an interlude and the act of playing such an improvisation, interluding. These interludes contain musical material of both the previous and the next piece, thus creating seamless transitions, a bridge between characters and\/or a dialogue between the pieces. \n\nFirst, the historical importance of preluding and interluding is discussed, followed by a collection of improvisation exercises based on an existing composition with audio examples. These exercises serve to expand an active musical vocabulary inspired by the chosen pieces. The interludes can be built using different structures with this newly acquired vocabulary. To present and discuss the results, recordings of performances are included. Finally the limits of this format of strictly recycling (thematic) material are discussed, bringing to the surface other ways to use the concept of interluding.<\/jats:p>","DOI":"10.22501\/koncon.1783794","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:37:35Z","timestamp":1725921455000},"source":"Crossref","is-referenced-by-count":0,"title":["Interluding: Identifying practice methods for classical improvisation on the Violin"],"prefix":"10.22501","author":[{"family":"Ruth Mareen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:44Z","timestamp":1727193344000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1783794\/1783795"}},"issued":{"date-parts":[[2023,5,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1783794","published":{"date-parts":[[2023,5,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:32Z","timestamp":1727238632107},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,18]]},"abstract":"Karol Szymanowski and Polish Folklore. Compositional copy or inspiration? What musical choices might be made for performing Harnasie and other violin pieces by using knowledge of Podhale folk music to inform violin performance practice. \nIn this exposition I present my research which consists of a few elements. \nFirstly, to get acquainted with the composer - Karol Szymanowski and focus on his Nationalistic period. While exploring Podhale folklore and understanding its main characteristics, I did analyze the way Szymanowski uses this particular folklore in his pieces. \nThen, the focus goes to Szymanowski\u2019s most important work of the period - ballet Harnasie and its comperisement with the violin transcription. To discover whether the folk citations used in his pieces are just a copy of original melodies or inspiration and how do they connect with each other? \nA significant and most important part of my research is finding out how the knowledge gained through this process can improve and enrich the performance of Szymanowski\u2019s violin music. In short my conclusions are as follows. Folkloristic parts should be treated as original Highlanders would play it. Therefore, violinists need to get some sound simplicity such as no vibrato or playing in the first position. On the other hand, the lyrical parts are very contrasting. Szymanowski was inspired by singers and the way his dear violinist friend Pawe\u0142 Kocha\u0144ski played. Therefore, the lyrical parts can be compared to the human voice, with a sweet romantic sound, natural voice like breathing in the phrases, continuous fast vibrato.<\/jats:p>","DOI":"10.22501\/koncon.1345866","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:06Z","timestamp":1725921486000},"source":"Crossref","is-referenced-by-count":0,"title":["Karol Szymanowski and Polish Folklore. Using Podhale folk music to inform performances of Szymanowski's Harnasie"],"prefix":"10.22501","author":[{"family":"Ania\u00a0Szafraniec","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:55:54Z","timestamp":1727193354000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1345866\/1345867"}},"issued":{"date-parts":[[2022,7,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1345866","published":{"date-parts":[[2022,7,18]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:32Z","timestamp":1727238632118},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,6,18]]},"abstract":"Research Title:\nIntabulation as process and practice\n\nResearch questions:\n\nWhen it comes to the manifold surviving solo lute intabulations from around 1500, where is the line between \"unwritten\" and \"written\" intabulation? \nIntabulating involves the writing out of several parts into tablature, but does this twofold distinction really apply to all pieces? \nWhat was the process of appropriation of vocal polyphony for a lutenist of the early 16th century?\nHow can we apply this to our own processes?\n\nAbstract:\n\nIntabulation refers to the arrangement of vocal pieces for what Johannes Tinctoris refers to as a \u201cperfect instrument\u201d, amongst which he counts such instruments as keyboards and the lute \u2013 and it implies writing out the parts of a polyphonic composition into tablature. However, after playing many surviving intabulations for several years, I had a strong feeling that there must be an \u201cunwritten\u201d solo lute intabulation practice behind the \u201cwritten\u201d intabulations from the beginning of the 16th century, in contrast to the more \u201ccomposed\u201d intabulations from the time after the mid-16th century. While surviving sources provide us with much information on what lutenists played, they also hide the \u201cunwritten\u201d practice which they did not record. We can only imagine what was happening. In this thesis, I investigate the process of intabulation by lute players from this time by analysing and comparing different versions of the same song from different sources. Through this research, I trace the transition of the changing style of intabulation, which is in turn related to the transition of lute technique from plectrum to finger-plucked and the change in style of the vocal models. Moreover, the diffusion of printed music changed the manner of the transmission of music. To conclude, I hypothesise that lute players might have listened to and copied each other\u2019s intabulations unconsciously, and when they wanted to preserve their work, they might have made some adjustments to their intabulations. The study also suggests how to apply these ideas to actual intabulation practice, which will be presented in the Research Symposium online as a video format.\n\nBiography:\nThe Japanese lutenist Asako Ueda studied the lute at the Royal Conservatory of The Hague with Mike Fentross and Joachim Held and completed her Bachelor's with the highest achievable mark, which gives her the opportunity to continue to the Master\u2019s program with the Excellence Scholarship of the Royal Conservatory of the Hague. She won first prize at the Biagio Marini Competition and third prize at the International Van Wassenaer Competition. \nShe started playing the violin at the age of five. After finishing her Bachelor\u2019s degree with the violin in Tokyo, she continued to study the Baroque violin and composition.\nhttps:\/\/asakoueda.com<\/jats:p>","DOI":"10.22501\/koncon.1038501","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:39:51Z","timestamp":1725921591000},"source":"Crossref","is-referenced-by-count":0,"title":["Intabulation as process and practice (Master thesis)"],"prefix":"10.22501","author":[{"family":"Asako Ueda","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:56:34Z","timestamp":1727193394000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1038501\/1038502"}},"issued":{"date-parts":[[2021,6,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1038501","published":{"date-parts":[[2021,6,18]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:36Z","timestamp":1727238636088},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2015,8,31]]},"abstract":"This project investigates the coexistence of and the correlation between the inhabitants within my apartment building, using artistic practices and my own lived experience. These everyday spaces form the primary interface between the individual and the larger social entity of the city. Consciously, or partly unknowingly, one interacts with others through spatial demarcations, using embedded spatial devices (such as squeaking floorboards, peepholes, mailboxes, etc.) that project life and the presence of other people through sound, light, or matter. Most of these devices are partly unintended, often serve other practical functions, and go unnoticed \u2013 but nevertheless hold a latent spatial potential for a recalibration of the social dimension of the city and an architecture to come. This exposition features a combination of photography, 3D laser scans, and creative writing, followed by a written account of the practice.<\/jats:p>","DOI":"10.22501\/jar.99363","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T18:52:53Z","timestamp":1492455173000},"source":"Crossref","is-referenced-by-count":0,"title":["Hinges of correlation: Spatial devices of social coexistence"],"prefix":"10.22501","author":[{"family":"Espen Lunde Nielsen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:53:33Z","timestamp":1727193213000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/99363\/99364\/0\/100"}},"issued":{"date-parts":[[2015,8,31]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/jar.99363","published":{"date-parts":[[2015,8,31]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:37Z","timestamp":1727238637376},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,4,16]]},"abstract":"Immersion is a much-used word in the domain of sound-based media arts. It is through immersion that the audiences are often made to engage with the artworks, using technical devices and medial dispositive that are at the intersection of culture and materiality in a post-digital era. In this mode of artistic representation, immersion operates as a context for realizing the production of presence as an illusion of non-mediation (Reiter, Grimshaw et al). The main concern of this proposed article is whether the audience tends to become a passive and non-acting guest within the immersive space often constructed by an authoritarian and technocratic consumer-corporate culture. I will argue in the article that in this mode of non-activity the audience may lose the motivation to question the content and context of the work by falling into a sensual and indulgent mode of experience, therefore allowing the consumerist-corporate powers to take over the free will of the audience (Lukas et al). From the position of a socially and environmentally committed sound artist myself, I will argue for producing a discursive context rather than an immersive one in sound artworks that aim to represent contemporary crisis such as climate change critically engaging with the Anthropocenic conditions. I will examine the possibility to create artworks where the individuality of the audience is carefully considered and taken into account as a crucial parameter. I will discuss a number of my recent works to develop and substantiate the argument.<\/jats:p>","DOI":"10.22501\/ruu.555994","type":"journal-article","created":{"date-parts":[[2020,4,16]],"date-time":"2020-04-16T11:53:36Z","timestamp":1587038016000},"source":"Crossref","is-referenced-by-count":0,"title":["Post-immersion: Towards a discursive situation in sound art"],"prefix":"10.22501","author":[{"family":"Budhaditya Chattopadhyay","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T16:01:06Z","timestamp":1727193666000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/555994\/555995"}},"issued":{"date-parts":[[2020,4,16]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/ruu.555994","published":{"date-parts":[[2020,4,16]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:30:41Z","timestamp":1727238641871},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2022,9,30]]},"abstract":"Solastalgia - Layers of caring is an autoethnographic account of how two artist\u2019s concern for the Arctic ice catalyze new layers of caring. Composer Carola Bauckholt and myself, violinist Karin Hellqvist, together set out to address our eco-anxiety, solastalgia, by developing responsibility, artistic care and fascination for the sounds of the arctic ice. Along the way, new ways of caring emerge between us and toward the artwork. This exposition offers a glimpse into our collaborative journey of creating the violin, electronics and video work Solastalgia, during a collaborative workshop in Berlin. And as a theoretical framework, Alan Taylor\u2019s typography of working relationships gives us insight in our practice and relationship.<\/jats:p>","DOI":"10.22501\/ruu.1369344","type":"journal-article","created":{"date-parts":[[2022,9,30]],"date-time":"2022-09-30T10:38:13Z","timestamp":1664534293000},"source":"Crossref","is-referenced-by-count":0,"title":["Solastalgia - Layers of caring"],"prefix":"10.22501","author":[{"family":"Karin Emilia Hellqvist","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:59:22Z","timestamp":1727193562000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1369344\/1369345"}},"issued":{"date-parts":[[2022,9,30]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1369344","published":{"date-parts":[[2022,9,30]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:33Z","timestamp":1742358153510,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0050","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T15:27:41Z","timestamp":1640878061000},"source":"Crossref","is-referenced-by-count":0,"title":["Rese\u00f1a del libro Ignacio Nieto, Francisca Garc\u00eda (editores), \u201cLa expansi\u00f3n de la academia. Pr\u00e1cticas, procesos y problemas en la investigaci\u00f3n art\u00edstica\u201d"],"prefix":"10.22501","author":[{"given":"Claudia","family":"Valente","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:18Z","timestamp":1742292198000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/resena-del-libro-ignacio-nieto-francisca-garcia-editores-la-expansion-de-la-academia-practicas"}},"issued":{"date-parts":[[2021]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0050","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2021]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:08Z","timestamp":1742294408078,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0047","type":"journal-article","created":{"date-parts":[[2021,9,28]],"date-time":"2021-09-28T12:46:39Z","timestamp":1632833199000},"source":"Crossref","is-referenced-by-count":0,"title":["Reflections on Artistic Research as a Decolonising Strategy in Africa: the ARA2020 Conference"],"prefix":"10.22501","author":[{"given":"Christo","family":"Doherty","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Mareli","family":"Stolp","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021]]},"container-title":["Journal for Artistic 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Graciela Taquini (editora) \"Legado.ar.\""],"prefix":"10.22501","author":[{"given":"Maia","family":"Navas","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024,7,9]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:37Z","timestamp":1742292217000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/resena-del-libro-graciela-taquini-editora-legadoar"}},"issued":{"date-parts":[[2024,7,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0070","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024,7,9]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:02Z","timestamp":1742358182923,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic 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Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:20Z","timestamp":1742292200000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/pt\/devorar-o-outro"}},"issued":{"date-parts":[[2021]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0053","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2021]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:04Z","timestamp":1742358184909,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0073","type":"journal-article","created":{"date-parts":[[2024,11,5]],"date-time":"2024-11-05T15:43:26Z","timestamp":1730821406000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Helen Julia Minors, Stefan \u00d6stersj\u00f6, Gilvano Dalagna and Jorge Salgado Correia (eds.), \u201cTeaching Music Performance in Higher Education \u2013 Exploring the Potential of Artistic Research.\u201d"],"prefix":"10.22501","author":[{"given":"Stefan","family":"Gies","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024,11,5]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:42Z","timestamp":1742292222000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-helen-julia-minors-stefan-ostersjo-gilvano-dalagna-and-jorge-salgado-correia-eds-teaching"}},"issued":{"date-parts":[[2024,11,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0073","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024,11,5]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:07Z","timestamp":1742358187090,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0009","type":"journal-article","created":{"date-parts":[[2018,9,27]],"date-time":"2018-09-27T15:47:41Z","timestamp":1538063261000},"source":"Crossref","is-referenced-by-count":0,"title":["Passivity as activity"],"prefix":"10.22501","author":[{"given":"Saara","family":"Hacklin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2018,5,20]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:49Z","timestamp":1742292169000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/passivity-activity"}},"issued":{"date-parts":[[2018,5,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0009","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2018,5,20]]}},{"indexed":{"date-parts":[[2025,9,16]],"date-time":"2025-09-16T16:47:56Z","timestamp":1758041276113,"version":"3.44.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/mdw","type":"journal","created":{"date-parts":[[2025,9,11]],"date-time":"2025-09-11T11:11:08Z","timestamp":1757589068000},"source":"Crossref","is-referenced-by-count":0,"title":["mdw - University of Music and Perfoming Arts Vienna"],"prefix":"10.22501","member":"9794","deposited":{"date-parts":[[2025,9,11]],"date-time":"2025-09-11T11:11:08Z","timestamp":1757589068000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3284033\/3399966"}},"short-title":["mdw"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/mdw"},{"indexed":{"date-parts":[[2025,8,15]],"date-time":"2025-08-15T00:12:43Z","timestamp":1755216763132,"version":"3.43.0"},"posted":{"date-parts":[[2025,8,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,8,4]],"date-time":"2025-08-04T00:00:00Z","timestamp":1754265600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"En la sesi\u00f3n 01, que se realiz\u00f3 el 02 de mayo de 2022 experimentamos con la transformaci\u00f3n de datos sismogr\u00e1ficos desde el registro sonoro, creando dos audios para realizar una instalaci\u00f3n inmersiva de sonido.<\/jats:p>\n keywords: audio, tierra, sonic interaction design, sound, sound to symbol<\/jats:p>","DOI":"10.22501\/rc.1669766","type":"posted-content","created":{"date-parts":[[2025,8,4]],"date-time":"2025-08-04T20:05:11Z","timestamp":1754337911000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonidos de la tierra Sesi\u00f3n 01"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-4301-8115","authenticated-orcid":false,"family":"Paola Gonz\u00e1lez-Vargas","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,8,4]],"date-time":"2025-08-04T20:07:09Z","timestamp":1754338029000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1669766\/1669767"}},"issued":{"date-parts":[[2025,8,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1669766","published":{"date-parts":[[2025,8,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:22:52Z","timestamp":1725927772512},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"The results of this research will be presented to the public in the form of an exposition in which the whole analysis process will be explained and both an answer to the research question and a reflection about past and future of the Historically Informed Performance influence in the musical stage will be stated. Through this exposition we will be addressing relevant questions about the concept of Historically Informed Performance and its application as a work method that I encounter on my research, such as the use of reconstructed or modern instruments, the existence or absence of limitations of time and style frames for which the Historically Informed Performance is a useful tool or the common misconceptions about this idea by some group of musicians, aiming to establish a basis for the correct application of the Historically Informed Performance idea as a useful work method by any kind of musician and leading to a final reflection about the future development of the Historically Informed Performance ideal.<\/jats:p>","DOI":"10.22501\/koncon.1425457","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:24Z","timestamp":1725921504000},"source":"Crossref","is-referenced-by-count":0,"title":["A modern analysis of Historical Informed Performance: considerations about the method, its past and its future"],"prefix":"10.22501","author":[{"family":"Pedro Antonio P\u00e9rez M\u00e9ndez","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:25Z","timestamp":1725921505000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1425457\/1425458"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1425457","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:25:00Z","timestamp":1725927900159},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"After nearly two decades of sleep problems, one question haunts me. Why can\u2019t I sleep? Like many composers, sleep and its mysteries have become an obsession that for myself personally, has inspired an exploration between the conscious and unconscious in relation to the works of The Surrealists, Sigmund Freud and John Zorn.\u00a0Using autobiographical experiences of insomnia; close analysis of scholarly texts and musical scores I will explore the various ways in which musical expression is informed by the concept of sleep. Through this exploration I will establish how the lack of control I experience due to my inability to sleep can aid my own compositional process. I will investigate how these specific artists use psychodynamic theories to take control away from their audiences\u00a0and identify\u00a0what drives their desire\u00a0to musically capture, embody and control what is at its core, the uncontrollable.<\/jats:p>","DOI":"10.22501\/koncon.1581424","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:23Z","timestamp":1725921503000},"source":"Crossref","is-referenced-by-count":0,"title":["Why can't I sleep?: A psychoanalysis of the manifestation of unattainable control through the art of composition."],"prefix":"10.22501","author":[{"family":"Franki\u00a0Dodwell","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:23Z","timestamp":1725921503000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1581424\/1586731"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1581424","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:57Z","timestamp":1759335177609,"version":"build-2065373602"},"posted":{"date-parts":[[2022,12,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,12,21]],"date-time":"2022-12-21T00:00:00Z","timestamp":1671580800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Love of God - Group Exhibition \nCurated by Jeffrey Cobbold \nSeptember 14 - October 19, 2019\nArtworks Trenton, Trenton, New Jersey (U.S.A)\n\n2019 Curatorial Statement:\n\n\u201c\u2026I will find you. I will always find you\u2026\u2026A loving heart is the truest wisdom\u2026\u2026To believe and be satisfied with just the way things are\u2026\u2026No one has ever seen God\u2026\u2026Jesus\u2026\u2026Love is a circle\u2026\u2026And what comes around goes around\u2026\u201d\n\nThe words above come from Love of God (L.O.G) Audio Quotation Database, a DIY online database and digital humanities project I started in 2015 when I was working as an intern within the Love of God Retreat Program in Lawrenceville, NJ. In order to create the database I asked the program\u2019s high school student participants to find quotes about love and God that would help them reflect on the meaning of these words within their retreat program. These quotes are now the heart and inspiration for Love of God \u2013 Group Exhibition, which presents works from a selection of artists exploring issues of love and God revealed through artistic practice.\n\nThe artists featured in this volume are:\n \nJessica Browne-White (sculpture)\nJeffrey Cobbold (sound, video, text) \nDevonte Roach (film)\nMarina de Bernado Sanchis (drawing)\n\nTogether they create multiple entry points for one to consider the character of love, God and the intersections of both in our ever changing world.\n\nLove of God \u2013 Group Exhibition takes on the spirit of the Love of God Retreat Program in Lawrenceville, NJ with its necessity for inclusive understandings about love and God. While Jesus was a central topic of discussion within the retreat program, there was no mandated opinion one was expected to have about him. Rather, the unifying aspect of this program was an affinity for music and the arts within the expression of community. Their community was intersectional, dealing with the differences of varied socio-economic statuses, sexual identities and divergent relationships with the organized Christian church amongst so many other forms of diversity.\n\nThe retreat program no longer exists as it did in 2015 due the disbursement of its high school participants and changes in adult leadership. The online database is now a relic of the digital humanities project that occurred at that time. Yet, this exhibition is an initial step toward sharing a glimpse of the spirit of this retreat program with others. I sincerely hope that the spirit of this exhibition will connect with you as you search for love and God in your personal life and within the communities you serve everyday.\n\n\nLove of God Community Conversation (Luke 1:5-45)\nOctober 12, 2019\nArtworks Trenton, Trenton, New Jersey (U.S.A)\n\nFeatured presentation:\n\"Love, God, and Community\" by Simone Oliver\n\n2019 Community Conversation Statement:\n\nThis community conversation seeks to provide a space for theological and artistic reflection within the Love of God \u2013 Group Exhibition. A team of presenters will offer their individual reflections on love, God and community through engagement with Luke 1:5-45. Presenters will also consider the works of contemporary art and case study materials within the Love of God \u2013 Group Exhibition to aide their presentations. A time for discussion will be had between presenters and the audience for better articulation and understanding of divergent pathways toward love, God and community that can be useful for work in Christian ministry and contemporary art & culture.<\/jats:p>\n keywords: love, God, exhibition, Sculpture, sound, film, drawing, curation, text, VIDEO, Virtual, gallery, retrospective<\/jats:p>","DOI":"10.22501\/rc.1706313","type":"posted-content","created":{"date-parts":[[2022,12,21]],"date-time":"2022-12-21T16:46:42Z","timestamp":1671641202000},"source":"Crossref","is-referenced-by-count":0,"title":["Love of God - Group Exhibition: A Retrospective Virtual Gallery"],"prefix":"10.22501","author":[{"family":"Jeffrey Cobbold","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:21Z","timestamp":1759302621000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1706313\/1706314"}},"issued":{"date-parts":[[2022,12,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1706313","published":{"date-parts":[[2022,12,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:12:32Z","timestamp":1759335152141,"version":"build-2065373602"},"posted":{"date-parts":[[2024,10,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T00:00:00Z","timestamp":1730160000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We propose to present the Alterlibrary, an experimental digital and life library that conceives knowledge as Renewable Sources\u2014i.e. as an imaginative and transformative knowledge\u2014with the aim to explore possibilities of fostering knowledge's practical role as an enabler of social and political agency (Arendt, The human condition 1958). \nAgainst the impact of today's communication technologies and AI that have turned the public sphere into a fragmented space where polarized discourses, fake news, and consumer-driven narratives thrive (Zumboff 2019), we claim that knowledge production needs to be reframed. \nWhile the mentioned contemporary productions of \u201cknowledge\u201d come along with manipulative content, encourage a consumerist, i.e. passive, mindset, and blur the boundaries between reality and fiction in a hyperreal scenario (Baudrillard 1994), the Alterlibrary experiments with the continuous critical regeneration of knowledge. The following shifts in knowledge production by the Alterlibrary will be explained through its practical translating of the formats on the website: \nTransformative: Instead of conceiving knowledge as static, it is continuously reassessed and renegotiated through comments and questions. \nCollaborative: Instead of a focus on the individual, the Alterlibrary emphasises the relational and collaborative dimension of knowledge production.\nActive: Instead of producing consumers, it requires active engagement.\nEcosystemic: Instead of locating knowledge in the mind, it locates it in an ecosystemic approach to it that focuses on the interrelations between human and non-human actors (Latour 2005).\nThese shifts are achieved through a display of the Alterlibrary\u2019s collections - textual and visual - that creates a relational, lateral and rhizomatique environment, generating new reading paths between the sources and revealing the inexhaustible potential of recreation, as well as offering the \u201cusers\u201d space to rethink and interact with the sources.<\/jats:p>\n keywords: artistic research, Renewable Kowledge, Regenerative library<\/jats:p>","DOI":"10.22501\/rc.3122159","type":"posted-content","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T07:09:38Z","timestamp":1730185778000},"source":"Crossref","is-referenced-by-count":0,"title":["Alterlibrary. A regenerative online library."],"prefix":"10.22501","author":[{"family":"Meike Gleim","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:33Z","timestamp":1759302633000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3122159\/3122160"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3122159","published":{"date-parts":[[2024,10,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T16:11:50Z","timestamp":1759335110644,"version":"build-2065373602"},"posted":{"date-parts":[[2024,10,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T00:00:00Z","timestamp":1730160000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Textile Cartographies is a participatory action research project using textile arts as story telling, coordinated by APECV Research Group on Arts, Community and Education (GriArCE) with 29 groups from universities, schools, collectives and NGOs in Americas; Africa; Asia; Australia and Europe. The project aims to give voice to minority and peripheral groups in relation to issues such as environment; climate justice; social justice and other sustainability issues through exploring visual discourses using arts and textile technologies.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3125355","type":"posted-content","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T13:09:00Z","timestamp":1730207340000},"source":"Crossref","is-referenced-by-count":0,"title":["Textile Cartographie"],"prefix":"10.22501","author":[{"family":"C\u00e9lia Ferreira","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:34Z","timestamp":1759302634000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3125355\/3125356"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3125355","published":{"date-parts":[[2024,10,29]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,9,16]],"date-time":"2025-09-16T20:48:26Z","timestamp":1758055706404,"version":"3.44.0"},"posted":{"date-parts":[[2025,9,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T00:00:00Z","timestamp":1757894400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"longley for RC<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3089599","type":"posted-content","created":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T08:43:06Z","timestamp":1757925786000},"source":"Crossref","is-referenced-by-count":0,"title":["longley RC"],"prefix":"10.22501","author":[{"family":"Julieanna Preston","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T08:43:06Z","timestamp":1757925786000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3089599\/3089600"}},"issued":{"date-parts":[[2025,9,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3089599","published":{"date-parts":[[2025,9,15]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,9]],"date-time":"2025-10-09T01:02:06Z","timestamp":1759971726333,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Wall Refused to Explain Itself\nGraffiti and the Ethics of Witness\n\nBy Dorian Vale\n\nWhat if the wall isn\u2019t asking to be read \u2014 but to be witnessed?\n\nIn this field-shifting essay, Dorian Vale reclaims graffiti as one of the most ethically potent forms of aesthetic witness. Far from being a plea for interpretation, graffiti \u2014 in its rawest, uncurated form \u2014 is an act of presence without permission, an assertion of self or pain that demands neither explanation nor approval.\n\n \n\nGraffiti has often been categorized as vandalism or mythologized as rebellious art, but both readings reduce it to an object of consumption. Vale reframes graffiti through the lens of Post-Interpretive Criticism (PIC): not as a message to decode, but as a residue of someone who refused to remain unseen. The wall does not offer clarity. It offers consequence.\n\n \n\nThis essay explores the ethics of witnessing works that were never made for museums, never meant to be collected, never signed with legacy in mind. It positions graffiti as a form of silent mourning, coded resilience, or anonymous mercy \u2014 and interrogates the violence of trying to interpret what was meant only to be left intact.\n\n \n\nThrough the doctrines of moral proximity, residue, and non-performance, Vale challenges viewers, critics, and curators to reconsider their stance: If you see a name scrawled on concrete, bleeding through brick \u2014 do you need to know who wrote it to kneel?\n\n \n\nVale, Dorian. The Wall Refused to Explain Itself: Graffiti and the Ethics of Witness. Museum of One, 2025. DOI: 10.5281\/zenodo.17038493\n\n \n\ngraffiti theory, Dorian Vale, Post-Interpretive Criticism, ethics of witness, art and vandalism, ephemeral art, street art ethics, moral proximity in art, witnessing graffiti, non-interpretive art, anonymous expression, public space aesthetics, wall as canvas, trauma and urban art, aesthetic residue, refusal to explain, post-critical graffiti, marginal art theory, slow art, silent protest, sacred witness in public spaces, art of the unseen, unsanctioned beauty\n\nThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Museum of One, Independent Philosopher of Art, Aesthetic Philosopher, Art Writer and Theorist, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Museum of One Manifesto, Erasure as Afterlife, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Witness over interpretation, Radical art restraint, Interpretive Restraint, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, https:\/\/orcid.org\/0009-0004-7737-5094<\/jats:p>","DOI":"10.22501\/rc.3921646","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T16:24:09Z","timestamp":1759940649000},"source":"Crossref","is-referenced-by-count":0,"title":["The Wall Refused to Explain Itself: Graffiti and the Ethics of Witness"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T16:24:09Z","timestamp":1759940649000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921646\/3921645"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921646","published":{"date-parts":[[2025,10,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T14:41:25Z","timestamp":1759761685745,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T00:00:00Z","timestamp":1759708800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Esta experi\u00eancia criativa foi desenvolvida na disciplina de Epistemologia da Cultura, do Mestrado Interdisciplinar em Din\u00e2micas Sociais, Conex\u00f5es Art\u00edsticas e Saberes Locais do Centro de Ci\u00eancias de S\u00e3o Bernardo, da Universidade Federal do Maranh\u00e3o. Vivenciamos a paisagem sonora da Igreja Matriz do munic\u00edpio de S\u00e3o Bernardo, localizado no estado do Maranh\u00e3o. Destacamos a sua import\u00e2ncia religiosa, hist\u00f3rica, cultural e afetiva para a cidade, utilizando recursos po\u00e9ticos e perform\u00e1ticos, a fim de evidenciar a paisagem sonora como express\u00e3o cultural. Buscamos compreender a rela\u00e7\u00e3o entre os sons e a mem\u00f3ria afetiva, investigando como a sonoridade influencia as percep\u00e7\u00f5es e lembran\u00e7as do espa\u00e7o, bem como refletir sobre a experi\u00eancia perform\u00e1tica, destacando o processo de escuta ativa e de imita\u00e7\u00e3o dos sons do ambiente. Como aporte te\u00f3rico para alicer\u00e7ar o processo criativo, utilizamos autores que discutem a escuta e paisagem sonora, em especial R. Murray Schafer, Pierre Schaeffer e Marisa Fonterrada.<\/jats:p>\n keywords: Paisagem sonora, Processo criativo, Escuta, Sensibiliza\u00e7\u00e3o sonora<\/jats:p>","DOI":"10.22501\/rc.3918433","type":"posted-content","created":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T14:05:00Z","timestamp":1759759500000},"source":"Crossref","is-referenced-by-count":0,"title":["OS SONS DO SAGRADO: UM EXPERI\u00caNCIA SONORA NA IGREJA MATRIZ DE S\u00c3O BERNARDO \u2013MA"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0000-7738-2834","authenticated-orcid":false,"family":"Natacha Oliveira Pinto","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T14:05:01Z","timestamp":1759759501000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3918433\/3918434"}},"issued":{"date-parts":[[2025,10,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3918433","published":{"date-parts":[[2025,10,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,11,13]],"date-time":"2025-11-13T09:53:41Z","timestamp":1763027621400,"version":"3.45.0"},"posted":{"date-parts":[[2025,11,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,13]],"date-time":"2025-11-13T00:00:00Z","timestamp":1762992000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The project is a semi-graphic notification of the artist\/author\u2019s initiatives to stretch fiction \u2013 so-termed analogous to the stretcher component of an umbrella \u2013 in his language-based and visual practice. The referenced time-frame is from 2014 through 2025. The contention is that if one considers oneself as subject within one\u2019s work, amidst whatever the work's more objective concerns, then it is a fairly obvious next step to third-person oneself \u2013\u00a0in the sense that a writer such as Fernando Pessoa invented heteronyms. While in visual practice such a prospect is, arguably, more difficult to articulate, a fictional element instilled in art- or other academic writing already has certain precedents in more experimental writing in the latter fields. If, as in the artist\/author\u2019s case, such writing is an adjunct to one\u2019s visual practice, then a fictional characterisation of oneself as another can comment on and variously inhabit one\u2019s visual work. Unlike how characters often populate fiction, however, the artist\/author\u2019s strategy is to only partly develop them, hence having them oscillate as, themselves, a question of relevance.<\/jats:p>\n keywords: language-based practice, fiction, visual practice, subject, notification<\/jats:p>","DOI":"10.22501\/rc.2983327","type":"posted-content","created":{"date-parts":[[2025,11,13]],"date-time":"2025-11-13T09:49:26Z","timestamp":1763027366000},"source":"Crossref","is-referenced-by-count":0,"title":["Stretching Fiction: in a language-based and visual artistic practice"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,13]],"date-time":"2025-11-13T09:49:26Z","timestamp":1763027366000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2983327\/2983328"}},"issued":{"date-parts":[[2025,11,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2983327","published":{"date-parts":[[2025,11,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,11,16]],"date-time":"2025-11-16T12:25:56Z","timestamp":1763295956984,"version":"3.45.0"},"posted":{"date-parts":[[2025,11,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,16]],"date-time":"2025-11-16T00:00:00Z","timestamp":1763251200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Wearing a garment can serve as a metaphor for inhabiting the city. In both cases, a space built on a human scale is occupied, excluding everything else. Spontaneous vegetation moves slowly, so as not to be noticed. Meanwhile, the city grows and alters it, leaving an indelible mark on its form. The silhouettes of pruned plants, twisted and unnatural, resemble anthropomorphic figures, and the scene becomes suspicious.The \u201cCostumes\u201d series consists of disguises created from models of plants spotted in urban environments. Their shape prevents other life forms from wearing them.<\/jats:p>\n keywords: Sculpture, installation, textile, PHOTOGRAPHY, nature, antropomorphism, vegetation<\/jats:p>","DOI":"10.22501\/rc.3790029","type":"posted-content","created":{"date-parts":[[2025,11,16]],"date-time":"2025-11-16T12:16:42Z","timestamp":1763295402000},"source":"Crossref","is-referenced-by-count":0,"title":["Costumes"],"prefix":"10.22501","author":[{"family":"Margherita Citi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,11,16]],"date-time":"2025-11-16T12:16:43Z","timestamp":1763295403000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3790029\/3791902"}},"issued":{"date-parts":[[2025,11,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3790029","published":{"date-parts":[[2025,11,16]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,11,29]],"date-time":"2025-11-29T16:26:42Z","timestamp":1764433602963,"version":"3.41.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T00:00:00Z","timestamp":1749772800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,6,13]]},"abstract":"This exposition explores the concept of speculative utopias within artistic research, offering glimpses into potential futures at the intersection of artistic imagination and futures thinking. Developed as textual concepts, these speculative utopias serve as vehicles for envisioning inclusive and sustainable futures, addressing complex socio-economic, cultural, and environmental challenges. The study employs a multidisciplinary approach by integrating aerial photography of Iceland\u2019s landscapes with futures thinking methodologies and artistic research practices. These photographs function not merely as documentation but as speculative utopias that prompt critical reflection on climate adaptation, socio-political transformation, and public engagement. A unique aspect of the research is the use of artificial intelligence (ChatGPT), which supported iterative narrative development and reflexive inquiry. Through this exploration, the research offers alternative visions for resilient futures catalysing transformative dialogue and deepening reflection on the politics of the present while imagining possibilities for the world to come.<\/jats:p>\n keywords: speculative, utopia, futures thinking, artistic research, artificial intelligence<\/jats:p>","DOI":"10.22501\/hub.2822453","type":"journal-article","created":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T10:40:04Z","timestamp":1749811204000},"source":"Crossref","is-referenced-by-count":1,"title":["Glimpsing Speculative Utopias: Envisioning Futures"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-8146-7216","authenticated-orcid":false,"family":"Amna Qureshi","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T10:40:04Z","timestamp":1749811204000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2822453\/2822454"}},"issued":{"date-parts":[[2025,6,13]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/hub.2822453","published":{"date-parts":[[2025,6,13]]}},{"indexed":{"date-parts":[[2026,1,12]],"date-time":"2026-01-12T18:10:04Z","timestamp":1768241404968,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,12]],"date-time":"2026-01-12T00:00:00Z","timestamp":1768176000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Name Painting is an activity that has the potential to bring people together to test their opinions and tastes in a phenomenological fashion. This research aim to reveal how such an activity can lead to results that can be expressed through poetry. The arts-based research aims to reflect some of the challenges of engaging with the public for participation in a cultural activity, that of Name Painting, but also aims to show some fruitful ways to display the results in the form of poetry. A.I. is also consulted to provide further contrast with the participant and artist-researcher's approaches to name painting. The thematic and content analysis of the study reveals some of the patterns associated with the results in a mixed methods approach.<\/jats:p>\n keywords: Painting, poetry, arts-based research, artificial intelligence, Automatic writing, thematic analysis<\/jats:p>","DOI":"10.22501\/rc.3903502","type":"posted-content","created":{"date-parts":[[2026,1,12]],"date-time":"2026-01-12T14:49:06Z","timestamp":1768229346000},"source":"Crossref","is-referenced-by-count":0,"title":["A Name Painting Exercise: Contrasting Artificial and Human Intelligent Responses"],"prefix":"10.22501","author":[{"family":"KEVIN MICHAEL STEVENSON","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,12]],"date-time":"2026-01-12T14:49:06Z","timestamp":1768229346000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3903502\/3903501"}},"issued":{"date-parts":[[2026,1,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3903502","published":{"date-parts":[[2026,1,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,2,20]],"date-time":"2026-02-20T16:08:13Z","timestamp":1771603693895,"version":"3.50.1"},"posted":{"date-parts":[[2026,2,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,20]],"date-time":"2026-02-20T00:00:00Z","timestamp":1771545600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"*\u201cAs imagens s\u00e3o produzidas para orientar o homem no mundo. Quando este esquecimento acontece, a imagina\u00e7\u00e3o torna- se alucina\u00e7\u00e3o, e o homem torna-se incapaz de decifrar imagens.\u201d*\u00b9<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3891518","type":"posted-content","created":{"date-parts":[[2026,2,20]],"date-time":"2026-02-20T15:18:32Z","timestamp":1771600712000},"source":"Crossref","is-referenced-by-count":0,"title":["Sobre a Luz Artificial"],"prefix":"10.22501","author":[{"family":"Giselle Hinterholz","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,2,20]],"date-time":"2026-02-20T15:18:32Z","timestamp":1771600712000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3891518\/3891519"}},"issued":{"date-parts":[[2026,2,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3891518","published":{"date-parts":[[2026,2,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,4,18]],"date-time":"2026-04-18T06:21:51Z","timestamp":1776493311300,"version":"3.51.2"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,10,28]]},"abstract":"This exposition puts forward \u2018lingering longer\u2019 and \u2018listening away\u2019 as potential means to remain with non-semantic possibilities, resisting the tendency to know immediately or to classify \u2014 to get lost, albeit momentarily in a more messy moment of being. At stake in this investigation is the recognition that our experience of the world, characterized through a depth of engagement, is not limited to how relations operate on the surface. The direction or orientation of our attention, the intensity with which it is applied, and how it weighs on and shapes our experience implies choice and agency. \n\nExperiment I: Aural + Orientation = Aurientation emulates the experience of a fictional gallery-goer who encounters the sound installation, This is for You (Don\u2019t Treat it like a Telephone) (2012). This piece was developed at the advanced centre for performance and scenography studies (a.pass) in Brussels and aims to consider how sound and the voice shape our orientation, when mediated through objects. Experiment in Aural Attention II: Vibrant Practice details the process undergone for creating Listening to Water (2013), a site-specific investigation into ancient well sites located in Powys and Ceredigion, two counties in Mid West Wales. The work, made in collaboration with Jane Lloyd-Francis and Naomi Heath, considers how a turn towards site, via a process of tuning in to the Welsh landscape, can bring attention to overlooked aspects of our environment.<\/jats:p>","DOI":"10.22501\/jar.1248288","type":"journal-article","created":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T09:49:42Z","timestamp":1666950582000},"source":"Crossref","is-referenced-by-count":1,"title":["Experiments in Aural Attention: Listening Away &amp; Lingering Longer"],"prefix":"10.22501","author":[{"family":"Rebecca Collins","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T15:51:40Z","timestamp":1727193100000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1248288\/1735014"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jar.1248288","published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:27:20Z","timestamp":1774445240529,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A Project that explores tool making sculpturally, speculating on a pre-lingual modality of meaning making. This research uses tool making processes to explore physically initiated modalities of articulating thought outside of the meaning making operations of language. Tool making is conceptualized as an external scaffolding structure where one may explore making beyond or detached from language based manners of thinking. Research stems from material constraints that shape our understanding of objects and processes. The research attempts to explore the limits of constraints. Can I create a new tool for drawing that changes the way we make drawing? I use the notion of the studio as a constellation of objects, tools, instruments, processes. Through the studio I build and explore new ways to encounter art making. The studio also creates tangential pathways. It is a collection of my past, my future, memories, failures, interests, side projects and interests. It can be a productive pipeline or procrastination manifest.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4081800","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T10:49:41Z","timestamp":1774435781000},"source":"Crossref","is-referenced-by-count":0,"title":["RE:\/\/Appart"],"prefix":"10.22501","author":[{"family":"Matyou Galea","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T10:49:41Z","timestamp":1774435781000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4081800\/4081801"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4081800","published":{"date-parts":[[2026,3,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T14:29:56Z","timestamp":1774448996524,"version":"3.50.1"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Slow Film series is an attempt at exploring our relationship with media. The way I have always understood this body of work is that it lies in between performance and playback\/screening and an intervention in space rather than in form or even in meaning. Context is derived from the immediate surroundings, the space that is being occupied especially when this is occupied by an audience. As such there is no narrative element, it is the story of the work in the space that is being played out. The movie, if one may call it such is in reality, despite the title of the series, neither fast nor slow, I would explain it as time neutral. The pace moves according to the scenarios' needs, essentially the work does its thing. If the audience \u2018enters\u2019 the film they become part of it and time stops being a thing. If the audience observes from the outside, the film never ends, never really changes, moving at a pace that is outside the human scale of time.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4180374","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:06:01Z","timestamp":1774443961000},"source":"Crossref","is-referenced-by-count":0,"title":["(S)Low Film #3"],"prefix":"10.22501","author":[{"family":"Matthew (Matyou) Galea","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:06:01Z","timestamp":1774443961000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4180374\/4180375"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4180374","published":{"date-parts":[[2026,3,25]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,4,27]],"date-time":"2026-04-27T11:37:26Z","timestamp":1777289846576,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/uia","type":"journal","created":{"date-parts":[[2024,7,30]],"date-time":"2024-07-30T07:56:43Z","timestamp":1722326203000},"source":"Crossref","is-referenced-by-count":0,"title":["University of Agder, Faculty of Fine Arts"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2026,4,27]],"date-time":"2026-04-27T10:49:50Z","timestamp":1777286990000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.uia.no\/om-uia\/fakultet\/kunstfag\/"}},"short-title":["uia"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/uia"},{"indexed":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T21:59:57Z","timestamp":1777672797050,"version":"3.51.4"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"In this exposition, I introduce my artistic research method Touching by describing how repeatedly passing through a pedestrian tunnel over the course of several months, afforded a series of performative and caring gestures to emerge over time. Using diverse audiovisual media, I explain how the tunnel evolved into an expanded scenographic research site. Its direct, pertinent impact on my daily rhythm prompted me to become still and receptive, evoking an awareness of my sensory and material engagement with more-than-human entities, objects and the environment. These diverse aesthetic encounters activated an ethical stance toward the world. Gradually, the tunnel was transformed into a \u2018carescape\u2019, an exploratory site of caring activities that raised questions of response-ability and illuminated the temporal and spatial dimensions of care.<\/jats:p>\n keywords: touch, care, method, urban space, movement<\/jats:p>","DOI":"10.22501\/ruu.3006375","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:06:16Z","timestamp":1777449976000},"source":"Crossref","is-referenced-by-count":0,"title":["The Tunnel as Urban Care-scape"],"prefix":"10.22501","author":[{"family":"Marloeke van der Vlugt","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:06:17Z","timestamp":1777449977000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3006375\/3015154"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3006375","published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T20:10:33Z","timestamp":1778011833974,"version":"3.51.4"},"posted":{"date-parts":[[2026,5,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Symposium MULTILAYERING ASMETHOD:Forest Sensoriums, Neuro-Queer Archives and Dark Ecologies of MakingThis symposium develops multilayering as method\u2014an epistemological structure for thinking, making, and sensing across art, performance, and interdisciphilary research. Multilayering organises differentiated yet interdependent strata in simultaneous tension. Meaning emerges through their interaction rather than their conclusion.Darkness is a productive condition: a space of opacity where perception is intensified, slowed, fragmented, or otherwise reconfigured. The forest is a saturated ecology of decay, memory, excess, and non-human entanglement-where layered temporalities and knowledges coexist without hierarchy.From neuro-queer, trans-feminist, and disability-informed perspectives, we embrace melancholy, dissociation, and sensory divergence as structuring forces of creative practice-ways of organising perception, time, and attention otherwise.Multilayering extends beyond sound and composition into broader interdisciplinary practice-art, performance, moving image, text, and digital archives as co-present systems. No single discipline is privileged; multilayering is the organising structure.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4411597","type":"posted-content","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T19:13:51Z","timestamp":1778008431000},"source":"Crossref","is-referenced-by-count":0,"title":["MULTILAYERING AS METHOD: Forest Sensoriums, Neuro-Queer Archives and Dark Ecologies of Making"],"prefix":"10.22501","author":[{"family":"Elinor Rowlands","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T19:13:51Z","timestamp":1778008431000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4411597\/4411598"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4411597","published":{"date-parts":[[2026,5,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,5,4]],"date-time":"2026-05-04T18:45:13Z","timestamp":1777920313787,"version":"3.51.4"},"posted":{"date-parts":[[2026,5,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T00:00:00Z","timestamp":1777593600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Curator\u2019s Shadow: The Unspoken Authorship Behind Neutrality examines the persistent fiction of curatorial neutrality within modern and contemporary museology, reframing the curator as an invisible yet decisive author of the exhibitionary encounter. Drawing on historical analysis from Enlightenment-era taxonomic displays to contemporary global curatorial practice, the article argues that neutrality operates not as absence, but as a rhetorical and institutional posture that conceals authorship while intensifying its power. Through a Post-Interpretive Criticism framework, the exhibition is reconceived as a spatial text in which sequencing, lighting, distance, and omission function as syntactic and ethical decisions rather than logistical ones.The study traces how curatorial authority evolved from custodianship of objects to governance of narrative, revealing the exhibition as a structured field of visibility shaped by ideological, architectural, and institutional inheritances, including colonial epistemologies and modernist claims to universality. By analyzing the curatorial role as a form of \u201cmoral choreography,\u201d the article foregrounds how exhibition design mediates the viewer\u2019s encounter with trauma, beauty, and knowledge, determining whether the experience produces reverence, detachment, or consumption.Engaging key figures such as Harald Szeemann, Okwui Enwezor, and Hans-Ulrich Obrist, the article situates the shift from curatorial invisibility to auteurship, identifying the contemporary challenge as neither neutrality nor self-display, but the cultivation of disciplined authorship. Within this context, Post-Interpretive Criticism proposes an ethical reorientation: the curator as witness rather than interpreter, whose task is to preserve the conditions of meaning rather than impose it.The article further introduces the concept of \u201ccuratorial shadow\u201d as a diagnostic lens for evaluating institutional power, where silence, absence, and spatial arrangement are treated as forms of authorship with measurable ethical consequences. It argues for a redefinition of neutrality as ego-restraint rather than objectivity, and for the transformation of exhibition-making into an ethics of care grounded in humility, proximity, and responsibility.Ultimately, the article positions curatorial practice as a threshold condition\u2014an act of structuring encounter without closure\u2014where the success of an exhibition is measured not by the clarity of its message, but by its capacity to sustain the viewer\u2019s presence without domination. In doing so, it contributes to the broader Post-Interpretive movement by extending its principles beyond criticism into the architecture of display, offering a philosophical and methodological foundation for ethically attuned exhibition-making in the twenty-first century.Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Adab for Art, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, The Journal of Post-Interpretive criticism, The Journal of Post-Interpretive criticism ISSN 2819-7232), The Journal of Post-Interpretive Criticism (Q136530009), Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608),<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), Epoch\u00e9 Fidelity Index (EFI), Phenomenological Phase Alignment Score (PPAS), Residue Engagement Restraint Ratio (RERR), Quasi-Subject Agency Recognition Index (QSARI), Dialectical Circulation Index (DCI), Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Ontology of beauty, Silence as method, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Aesthetic Phenomenology, Phenomenology, Phenomenology of Aesthetic, post-hermeneutics phenomenology, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Erasure as Afterlife, Language as Custody, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Criticism beyond interpretation, Ethical art theory, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4401114","type":"posted-content","created":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T19:26:41Z","timestamp":1777663601000},"source":"Crossref","is-referenced-by-count":0,"title":["The Curator's Shadow: The Unspoken Authorship Behind Neutrality."],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T19:26:41Z","timestamp":1777663601000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4401114\/4401113"}},"issued":{"date-parts":[[2026,5,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4401114","published":{"date-parts":[[2026,5,1]]},"subtype":"preprint"}],"items-per-page":1000,"query":{"start-index":0,"search-terms":null}}}