Research Catalogue

LearningLAB is a new module for the YoungKC department to help enhance meta-learning; helping young musicians learn about learning. This research proposes and describes the design, development and content of the program. It also explores the efficacy of students, teacher teams and management, and the dynamics between each group.

What triggered me to start this research is the multiplicity of reality. How something is represented, how it actually is and then how we all perceive it in our very own way. In that sense reality doesn’t exist, only versions of it. The lack of awareness of this multiplicity affects a lot our lives; what we believe, what we take as granted and how he behave.Through this practice based research I am experimenting on how to create moments of surprise and realization for the spectator. I work with copies and representations, replicas as I like to call them. The Replicas can be made of different materials, can be virtual or very physical. Until now I used scale models, mirrors and projections but the list is endless; so are the different ways to use the replicas or the impact that they will have. The way that the replicas are introduced to the spectator and their interaction is also very crucial in my work and another field to research. The movement and the body play a significant role to this. The special relationship that we have with our body, the way that we perceive it and how the movement can reset these relations and affect how we experience things.

The group acts as an open and inclusive formation for artist-researchers who share an interest and practice in working with sound. The group is committed to the indispensable action of encouraging and supporting personas of all diversity to participate and join in the collective exploration in and through sound, sensing and amplifying the heard, unheard as well as the overheard. As a collective the group welcomes contributors who are willing and eager to share their idea and practices, think collectively and are interested in shaping a emancipatory sonic futurism.

Le dessein intelligent est le mot à la mode des créationnistes des années 2000 qui concerne l’interprétation idéologique de la machine et des données. Ici, la question est celle des ressemblances religieuses prescrites, pour lesquelles le débat sur le dessein intelligent emprunte aux données non corporelles pour projeter des incorporations fictives à l’information, en présumant des mentales de similitude, sinon d’exactitude, qui pourraient donner lieu à une création religieuse prescrite.

Cet article s’appuie sur une approche psychanalytique et culturelle des idéologies et de l’économie-politique dans les constructions de vérité et les récits autour des lieux et des événements concernant les identités ethniques, religieuses et nationales, et propose une opinion interdisciplinaire sur les récits de vérité des psycho-réalités culturelles formées autour des parcs, des lieux monumentaux et des génocides en Turquie. Cette opinion porte sur le complexe, le concours du profane et du sacré, pour lequel l’article présente une interprétation détaillée du matériel/mondain et du religieux/au-delà. Les symptômes dans les lieux monumentaux en Turquie, parc culturel à Izmir et Parc Gezi et Sainte-Sophie à Istanbul, révèlent les mythes inhabituels encodés dans ces lieux, génocides, complexes et leurs liens avec les textes culturels d’aujourd’hui. Le réseau de la réalité informe les symptômes conscients et inconscients autour des parcs, des musées, des places ou des lieux monumentaux en Turquie et au-delà.

This research project explores how theatre can contribute to democratic engagement. The starting point was artistic probes investigating aspects of democracy: participation, deliberation and inclusion. The probes resulted in three productions presented at theatre institutions in Sweden. In Skapa Demokrati (Creating Democracy), participation was promoted by encouraging the audience members to create a democracy together. The performance thus allowed participants to experience a democratic process by actively engaging in the making of a constitution. In Öva Demokrati (Practicing Democracy), deliberation was in focus. The performance allowed the audience to deliberate on suggestions for strengthening Swedish democracy. Through methods inspired by political science, the audience was invited to speak and listen to arguments for the different proposals. In the performance, they were also presented with a variety of ways of voting to illustrate how different electoral systems can encourage engagement and give minorities a chance to be heard. In Monument, different strategies were used to promote inclusion. The project started with the idea that monuments say something about society. The monuments were used as vehicles to include voices from the residents of Helsingborg. The artwork presented these different experiences through a multi-perspective script. Other outreach activities also helped enable inclusion. Narrative analysis for theatre was used to reflect on these probes, allowing for a deeper understanding of how performances were conceptualised and structured, and how they made meaning for the audience. Lastly, the performance Ibsendekonstruktion II: Brand was written and staged to reflect on how the research has changed the artistic practice. The research has resulted in strategies for inclusion and a novel theatre format, the conversational theatre, which encourages participation and deliberation. These outcomes provide the theatre with methods to be in dialogue with society.