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.

A master's thesis that aims to see how 2D animation can visualize hallucinations in VR, while examining the greyzone between technology and spirituality in the animation process. The animations are made for the VR documentary film: Urban Witches, by Nicia Fernandez.

(Eng) During the isolation in Mexico due to the pandemic, two groups of people fought their own ideals to prevent the disease: those who believed in scientific research, and those who followed shamans wisdom, the indigenous witches. Contrary to what people might believe, there are still a lot of beliefs in ancestry medicine in urban areas. During 2020 I have filmed clips of beliefs and traditions in different parts of Chihuahua, Mexico. I continued the research in Sweden and displayed the process at Tales Festival with sounds, objects and the film in VR. The name of the project: URBAN WITCHES. I aim to continue the research on ancestral connectivity from a scientific point of view. _________________________________________________ (Esp) Durante el aislamiento de la pandemia, dos grupos de personas defendieron diferentes posturas para prevenir la enfermedad: los de ciencia y los que siguen el chamanismo de los nativos indigenas, del cual mucha gente del area urbana aun practica. Durante el 2020 filmé un poco de sus creencias y tradiciones en el Estado de Chihuahua. Continué la investigación en Suecia y mostré el proceso con una instalación de arte la pelicula en VR, sonidos y objetos en el Festival de Tales. El nombre del proyecto: URBAN WITCHES. Mi objetivo es continuar investigando la conectividad ancestral desde el punto de vista científico.

Materials, Chaos, and Desire in the Midst of Subconsciousness