Research Catalogue

ARTikulationen 2024 is an artistic research event conceived and organised by the Doctoral School for Artistic Research (KWDS) | Center for Artistic Research of the University of Music and Performing Arts Graz (KUG). It takes place at Theater im Palais and AULA KUG, Graz, between 02–05 October 2024. ARTikulationen interweaves in-depth artistic research presentations, a festival character (intermezzi-performances), and a mini-symposium on the topic of research journeys between artistic and scholarly or scientific practices. Topics range from current acoustic, electroacoustic, and computer composition, historically informed and contemporary performance, to improvisation and theatre.

The Contrast project corresponds to the creation of a network of multidisciplinary artistic initiatives in Art, Architecture, Design and Photography that counts with the direct involvement of eleven institutions of higher education teachingphotography in various disciplinary and artistic areas: ARCO, DARQ, DCAM, EA.UCP, ESAP, ESMAD, FAUP, FBAUL, FBAUP, FEUP and IPT. The project has been selected for funding in the DGARTES contest to support projects of creation and edition, through theCultural Association Cityscopio, with joint coordination between ESMAD-uniMAD and FBAUP – i2ADS, and led by FAUP.

First cycle | Photography and Architectural Project Communication (CAAD II) The objective of the second semester curricular unit is to deepen the theoretical and practical bases in the universe of Image Synthesis, Photography and Graphic Design software applied to the Communication and Representation of Architecture Project. A component of photomontage is introduced and students are led to explore the use of various media, images and representation tools during the process of territory analysis, conception and representation of the architectural project exercise for the design and production of a photobook.

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.

This paper explores the artistic legacy of William Gillock through a practice-based lens, focusing on his influence on jazz education and contemporary musical practices. As a composer and educator, Gillock’s work has been instrumental in shaping modern jazz pedagogy. The study reflects on my own pedagogical practice and its relationship to Gillock’s methods, examining how his compositional techniques and teaching strategies continue to inform my approach to jazz instruction. By engaging with Gillock’s work in practical contexts, I highlight how his contributions foster the development of technical proficiency and expressive artistry among students. This reflection underscores the enduring relevance of Gillock's innovations, as they continue to inspire and shape the growth of the jazz community today, ensuring that his legacy remains central to the evolution of jazz education and performance.

The Artistic Research project SHLUK focuses on the topics of noise pollution and sound beyond sound. For this purpose, it questions the (mis)conceptions behind the ideas of audible spectrum and “unwanted sound”. The group aims to put forward a proposal for political involvement with the environment, namely through the practice of field recordings. In this case, the collection of sounds in a specific neighborhood in Prague (Barrandov) carries the bond to discuss these practices. Moreover, the group proposes the idea of “deep recording“ as a device for a necessary acoustic revolution towards a less anthropocentric understanding of ecology.