Research Catalogue

Esta web es producto digital 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. Con la realización del proyecto, se busca incentivar el uso de la narración gráfica como proceso horizontal que permite relatar y revisar la importancia que tienen las prácticas artísticas de las comunidades en la construcción de tejido social. La propuesta de mediación artística se visibiliza como una estrategia colaborativa que permite el diálogo y el intercambio. El trabajo se inscribe y contribuye a las apuestas del Grupo de investigación para la creación artística y de la Línea de investigación en: Estudios críticos de las corporeidades, las sensibilidades y las performatividades. Adscritos al doctorado en estudios artísticos de la Universidad Distrital Francisco José de Caldas.

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

'Diffracting the Copenhagen Interpretation: Toward non-local collaborative art practices' investigates the resonances of concepts from quantum theory in the realm of transdisciplinary practice-based artistic research. Throughout a series of protocols using diffractive methodologies, we intend to translate and embody concepts such as spacetime, entanglement, non-locality, uncertainty, indeterminacy, and superpositionality, and embed them as tools for our artistic practices. These concepts were chosen for their singularity in physics, but also for the ways in which they confront ontoepistemic pillars of ‘Modernity’, such as sequentiality, determinacy and separability. The research is carried out by a transdisciplinary non-local core ensemble formed by Søren Kjærgaard, Amilcar Packer, and Carla Zaccagnini. The cities we inhabit – Copenhagen, Sao Paulo and Malmö – have been our laboratories. Departing from tools and methods learned from each-other's disciplines, we have been creating scores that guide our simultaneous actions while walking on the street –interacting with public spaces and their characteristics– or while lying asleep –in the most private of spheres. On the one hand, in a practice we call ‘non-local walking’, scores conduct our collective experiencing of our cities, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. On the other hand, the ‘entangling dream practice’ experiment is an attempt without aiming at success of meeting each other in our dreams. Both investigations are conceived as boundary-crossing transdisciplinary methodologies through which we create a relational, critical consciousness and sensing that stimulates unexpected outcomes, embracing failure. These scored performances have resulted in cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations, unexpected connections, constellations, and coincidences e/merge, unveiling yet unheard polyphonies that give resonance to the urban and mental spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.

Maria Vilkovisky is a poetess, musician, artist, and curator born in Almaty, Kazakhstan. She graduated from the Kazakh State Conservatory as a violist, worked in the opera house orchestra, studied at the “Musagethes” literary school for writers in Almaty and at the curatorial summer school in Moscow. She is co-founder of a long-term para-institutional project called Krëlex zentre (together with Ruthia Jenrbekova), and from 2011–2014 she ran an art space in Almaty. She lives and works in Almaty and Vienna. Ruthia Jenrbekova is an artist and researcher from Almaty, Kazakhstan. She holds an MA in ecology and works as an intermedia cultural organizer. She is co-founder of Krëlex zentre together with Maria Vilkovisky. She is currently a PhD candidate at the Academy of Fine Arts Vienna and lives and works in Almaty and Vienna. Her fields of interest: queer ecology, material semiotics, arts-based methodologies, transfeminism. Krëlex zentre is a paranormal art institution that builds on cultural traditions of intermixed planetary diasporas, develops inclusive aesthetics, and promotes queer cosmo-politics. This interview by poet and Sound Studies scholar Vadim Keylin took place from March to April 2024 via Google Docs and has been edited for clarity. Literature references were added during the editing process.

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 – 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’s 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 – both the conservatory project and the private funeral tapes – 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’s 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.

This article provides an overview and analysis of transformations of the Belarusian political soundscape. Based on the author’s archive of audio recordings made in Minsk and other Belarusian cities in 2016-2023, the article analyzes how protesters and the authorities used voices, noises, and music during the major political protests of recent years. The field recordings became the starting points for a further discussion on the multifaceted role of sound, music, and silence in contesting for urban and political space in Belarus. The “loudest” period in the country’s recent history is then put in a wider context of studying the clashing ideologies of the authoritarian regime and the democratic, pro-independence movement. The study of audio materials is accompanied by participant observations, interviews, and an extensive analysis of Belarusian and international media that reveal various sonic practices used by the country’s and its critics. The primary goal of this article is to address the gaps in studies of the contemporary Belarusian political soundscape and independent music scenes.