Research Catalogue

I include questions I was given at the Janine Antoni workshop, Toynbee Studios, in 2010, as feedback to my work. I address the participants by the first names they used to introduce themselves at the workshop. The questions were given in writing to each participant by the rest of the group, to offer material for thinking further their artistic practice in their own time. I include the answers I would give now, if I was asked the same questions. Much of Janine Antoni's work is about the female body and cultural identity.

We, Anna N. and Barb/Brab, started an exchange of thoughts about the meaning of "aut" – as in aut/istic and aut/oimmune. We are interested in what it means to live as auts, to write about it in regard to everydaily life, in regard to the medical discourses about autism and autoimmunity, and in regard to the view of the "others", the not-auts. In the context of language-based artistic research we seek to develop practices that allow for investigating the meaning of aut on different levels of our existence. * (Speaking out and at the same time speaking as auts, but also speaking in a language called "aut")

This is the landing page for Rhythmic Music Conservatory's portal on Research Catalogue.

This exposition refers to arts-based research on simultaneous performative walking and singing practice in a changing environment. The act of walking is put in the context of landscape and singing representing two aspects of relation to the environment – inner and outer landscape. The object of research is traditional and authorial songs and their bodily and sensual interconnection with the process of experiencing landscape. This experience is gained with a group of artists and environmentalists who have over the course of more than a year repetitively walked through the landscape of the natural park Prokop Valley in Prague and its adjacent urban areas. Qualitative research is taken within the project “Walking as a liquid constant in urban space and landscape”. The method of data collection uses mental maps, inspired by the concept of Kevin Lynch, as a means of documentation. The exposition has three parts 1) the opening video essay, 2) Opus caementicium, autoethnographic reflection of the site, where the project takes place, and 3) Fugue of the vanishing world – an essay on the musical aspect of the project. Chapter titles are inspired by musical terminology that has content connotations in the text or mirrors the structuring of text and musical compositions.

This exposition brings together a collection of images, thoughts, and descriptions of the initial stages of a doctoral research project that explores the concept of 'notational actants': materially-focused, 3-dimensional objects intended for touch-based interpretation in musical performance. The majority of the content in this exposition was created during a one-month residency at Mustarinda (Hyrynsalmi, Finland).

The exposition provides an insight into the collaborative process of creating and performing Fragmente2 (2021) a choreomusical work by musician Kerstin Frödin and choreographer-dancer Åsa Unander-Scharin based on the Japanese avant-garde composer Makoto Shinohara’s solo piece for tenor recorder, Fragmente (1968). The exposition is an attempt to describe the methodology and creative process in this project, wherein music and dance intertwine in a non-hierarchical manner. The exposition follows the structure of the performance, which consists of a series of fragments, each of them analysed and descibed in terms of choreomusical interaction. We used Don Ihde’s experimental phenomenology and perspective variation (1986) as an artistic method to analyse and explore different aspects of our choreomusical materials and interaction concepts. To address and elaborate the choreomusical elements, we used Maurice Merleau-Ponty’s distinction between abstract and concrete movements (1945/2012), Pierre Schaeffer’s musical objects (1966/2017), and our own concept of choreographic objects. Furthermore, to jointly analyse and evaluate different interaction concepts we used video recordings, annotated scores, choreography scripts, movement instructions, personal reflections, and metaphorical descriptions of the 17 fragments. The process resulted in a contrapuntal choreomusical work where music and dance act as equal parts.