Research Catalogue

Bachelor of Choreography 4th Year Exposition

PERFORMING PROCESS is a research group within the Artistic Research Centre at Nottingham Trent University, co-led by Emma Cocker and Danica Maier, both Associate Professors in Fine Art. We ask: what is at stake in focusing on the process of practice — the embodied, experiential, relational and material dimensions of artistic making, thinking and knowing. What is the critical role of uncertainty, disorientation, not knowing and open-ended activity within artistic research? How might a process-focused exploration intervene in and offer new perspectives on artistic practice and research, perhaps even on the uncertain conditions of contemporary life? PERFORMING PROCESS has origins in a number of critical precedents: Summer and Winter Lodges originating within the fine art area (practice-research residencies or laboratories dedicated to providing space-time for making-thinking and for exploring the process of practice), collaborative artistic research projects such as No Telos, for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity; the DREAM seminar series with PhD researchers which focuses specifically on the ‘how-ness’ of practice research by asking - How do we do what we do?

Towards a (per)sonal topography of grand piano and electronics How can I develop a grand piano with live electronics through iterated development loops in the cognitive technological environment of instrument, music, performance and my poetics? The instrument I am developing, a grand piano with electronic augmentations, is adapted to cater my poetics. This adaptation of the instrument will change the way I compose. The change of composition will change the music. The change of music will change my performances. The change in performative needs will change the instrument, because it needs to do different things. This change in the instrument will show me other poetics and change my ideas. The change of ideas demands another music and another instrument, because the instrument should cater to my poetics. And so it goes… These are the development loops I am talking about. I have made an augmented grand piano using various music technologies. I call the instrument the HyPer(sonal) Piano, a name derived from the suspected interagency between the extended instrument (HyPer), the personal (my poetics) and the sonal result (music and sound). I use old analogue guitar pedals and my own computer programming side by side, processing the original piano sound. I also take out control signals from the piano keys to drive different sound processes. The sound output of the instrument is deciding colors, patterns and density on a 1x3 meter LED light carpet attached to the grand piano. I sing, yet the sound of my voice is heavily processed, a processing decided by what I am playing on the keys. All sound sources and control signal sources are interconnected, allowing for complex and sometimes incomprehensible situations in the instrument´s mechanisms. Credits: First supervisor: Henrik Hellstenius Second Supervisors: Øyvind Brandtsegg and Eivind Buene Cover photo by Jørn Stenersen, www.anamorphiclofi.com All other photo, audio and video recording/editing by Morten Qvenild, unless stated.

How do you find a balance between the fun spark of creativity versus practicality and productivity, so that you can realize your ideas? Through examining the insight learned during the process of making an animated short film, this paper explores how to protect the creative spark and tackle some practicalities though a creative process.

The Past is Rotting in the Future: Exploring the Aesthetics of Absence in Daily Life, embarks on an exploration of absence within the human daily life, examining its manifestation through relations, processes, and objects. It seeks to understand how absence is not merely a void but a significant presence that shapes perception, memory, and imagination. Through a multi-disciplinary approach that integrates personal narrative with academic writing, this research investigates the ways in which absence is performed, textured, and materialized. Central to the thesis is how photography, as both a personal and artistic practice, serves as a critical medium for discussing and visualizing absence, navigating through personal experiences of loss, and broader philosophical questions about how absence influences and constitutes our understanding of the world.

Esta página web recoge la memoria del proyecto narración gráfica a partir del proyecto Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con Cód. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Científico - CIDC de la Universidad Distrital Francisco José de Caldas. Hace parte del proceso metodológico de desarrollo de la tesis doctoral Narración Gráfica de Experiencias: Intercambios en Imágenes de migración. Como Laboratorio de investigación - creación ha indagado y trabajado en sus 17 años de existencia en procesos de creación, gestión, investigación, formación y producción de conocimiento desde tres líneas de trabajo: - Imagen, arte y cultura: como campo de prácticas pedagógicas y estudios de la cultura; donde se cruzan diversos discursos sobre la identidad, los procesos de memoria, lo simbólico, es de interés la sistematización de prácticas artísticas en donde surgen experiencias generadoras de conocimiento sensible. - El conocimiento libre: Trabaja en la elaboración conceptual de talleres y laboratorios de creación con procesos que se desarrollan desde el concepto de cultura hacedora, promueve el aprendizaje activo, la colaboración abierta, el D.I.Y. y su aplicación en diversos escenarios y contextos. - La narrativa y la lectura: Se han trabajado procesos de mediación y agenciamiento desde hace mas de 15 años, acompaña sus procesos desde el estudio y elaboración de propuestas creativas que refieren a la narración gráfica y los cruces generados entre las nociones de objeto, plataforma, libro, público y sus relaciones en los procesos de difusión, promoción, producción, edición y diseño de piezas interactivas. Este proceso fue concebido por Daniel Pinzón Lizarazo quien es Doctorando en Estudios Artísticos de la Universidad Distrital, Magíster en Escrituras Creativas de la Universidad Nacional de Colombia, Diplomado en Antropología del arte de Latir A.C. y el CIESAS en México, Diplomado en estudios editoriales por el Instituto Caro y Cuervo; Licenciado en educación artística de la Universidad Distrital, trabaja como docente, investigador y creador, ha sido gestor y asesor en el diseño de políticas referentes a las pedagogías del arte y la cultura.