Research Catalogue

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.

Jenny Sunesson (b. 1973) is a Swedish artist predominantly working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.

Een artistiek onderzoek naar de creativiteit van mijn team vanuit procesgerichte didactiek

The practice-based PhD research project comprises the development and application of composition strategies and techniques generated through interdisciplinary collaboration to integrate elements and ideas from non-sonic disciplines into the musical discourse of new music-theatre works, specifically opera. I explore mechanisms of mapping and association that engage with both the specific subject matter of each piece and the creative collaborative environment in which they are created, thus generating different compositional resources that I use to inform the creative process. By using mapping techniques, I can deeply engage and communicate a subject matter on different levels in the musical composition. The framework for this research is the intertwining of art and science on a variety of levels from a music compositional perspective. Within this framework, I explored the integration of knowledge and data from the natural and social sciences to inform the composition of four science-based music-theatre works: In response to Naum Gabo: Linear Construction in Space No. 1 (2020), Autohoodening: The Rise of Captain Swing (2021), The Flowering Desert (2022), and TRAPPIST-1 (2023). With this approach, I aim to closely link these works with their particular subject matter instead of being composed based just on my personal musical taste. By consistently and cohesively applying the strategies and techniques explored in this research, the outcome is not creating music about science or music inspired by science, but, instead, music embedded with science in which the scientific data and knowledge inform the composition decisions. The subject matter is therefore intertwined within the musical discourse, its performativity and theatricality, and its relationship with the other disciplines and collaborators involved in the creation of these music-theatre works.

Table of contents JSS issues

In this article we propose the concept of "sonic citizenship" as a framework for the multitude of ways in which we, in the rhythms of our everyday lives, form the aural background of each other, and how citizenship is practiced, negotiated, and maintained through everyday sonic activities. With examples of messy, fragile, and difficult interactions with sound from the time of the COVID-19 pandemic, we argue that the effort of tuning the soundscapes of the world needs to be complemented by an attuning approach that focuses on the negotiations we are constantly involved with in our everyday lives. The soundscape approach in the tradition of R. Murray Schafer implies that the soundscape is there as a landscape that we can uncover and tune. Conversely, the attuning approach of sonic citizenship understands soundscapes as relationships and dynamic configurations to which we must continuously attune, and which are themselves reconfigured via breaks in habitual attunements.