Research Catalogue

The Contrast project corresponds to the creation of a network of multidisciplinary artistic initiatives in Art, Architecture, Design and Photography that counts with the direct involvement of eleven institutions of higher education teachingphotography in various disciplinary and artistic areas: ARCO, DARQ, DCAM, EA.UCP, ESAP, ESMAD, FAUP, FBAUL, FBAUP, FEUP and IPT. The project has been selected for funding in the DGARTES contest to support projects of creation and edition, through theCultural Association Cityscopio, with joint coordination between ESMAD-uniMAD and FBAUP – i2ADS, and led by FAUP.

First cycle | Photography and Architectural Project Communication (CAAD II) The objective of the second semester curricular unit is to deepen the theoretical and practical bases in the universe of Image Synthesis, Photography and Graphic Design software applied to the Communication and Representation of Architecture Project. A component of photomontage is introduced and students are led to explore the use of various media, images and representation tools during the process of territory analysis, conception and representation of the architectural project exercise for the design and production of a photobook.

Guro Kristin Gjøsdal, A/R/Tography in Theory and Practice in Higher Education - Stockholm University of the Arts 2023/2024. The exposition ripples around an interview with Christine Yanco Helland (OsloMet), which is exploring and articulating how she carry out her entangled practice as artist/researcher/teacher. The presentation uses relevant literature to think with. Christine Yangco Helland is an educated drama teacher, director, and dramaturg, with a master’s degree in fine arts with specialisation in theatre from the University of Agder, Norway. Helland has a burning commitment to diversity and inclusion. In addition to working with professional productions, Helland is motivated by involving children and young people, non-professional, and marginalised groups. The exhibition and the interview uses rhizomatic thinking. And so does my own work and production within the methodology and thematics. A/R/Tography is a hybrid research methodology that emphasizes the three positions Artist (A), Researcher (R) and Teacher (T), and how these can be combined. The concepts hybrid methodology means that A/R/Tography is both a way of doing research throug/with one's own arts teaching practice, and a way of teaching through an artistic and explorative approach. This task was completed in autumn 2023.

SONIC EQUITY This exposition investigates questions of inclusion, equity, and decolonisation through the central voice of the Brazilian berimbau. Drawing on the approaches of artistic research, musical case studies are employed to investigate the core concepts, including the solo berimbau work of Adriano Adewale, as well as duo dialogues between Adriano Adewale on berimbau and Nathan Riki Thomson on double bass, seen through the conceptual lens of third space. Findings emerge in terms of uncovering and reimagining the unique, experimental sonic possibilities of the berimbau and the ways they can be utilized for artistic expression in both solo and duo playing. Through shining a light on the unique possibilities of the berimbau, questions arise in terms of why this instrument and its interconnected traditions have not been given equal space and value within higher music education, highlighting the need for institutions to continually reassess their policies through the lens of decolonisation. The artistic investigations further reveal issues related to the need for equity in music and music education, pointing towards a decolonised future where marginalized instruments such as the berimbau are given space and valued equally alongside all forms of musical expression. This connects back to the fundamental human need to be seen, acknowledged, and valued in our world, which is a commonality we can perhaps all relate to. Key words: berimbau, equity, decolonisation, interculturalism, higher music education, third space.

The difference in embodiment experience when transitioning from one piano to another is highly complex, not to mention the transition from a modern piano to a 19th-century historical piano, as playing techniques were also different. As the modern piano is very different from 19th-century keyboard instruments such as the fortepiano, it can be difficult for a modern pianist to understand the techniques used in the 19th century, and why. While it may be impossible to perfectly reconstruct the playing of 19th-century pianists, this study focused on the process of reimagining the 19th-century playing techniques on historical instruments from the perspective of a 21st-century pianist which will help develop understanding towards the potential roles and impact of these techniques, recognize the connections between instruments and techniques, as well as their influence on my playing as a pianist-researcher. Through this artistic practice, the feedback and observations from these experiences in the form of reflection logs were used to uncover the roles and effects of these techniques. This exposition will discuss a performer-researcher’s experience with references to the current literature, demonstrate how these techniques help narrow the gap between the modern and period instruments, especially in terms of touch and control, and investigate the effects of the artistic practice on dynamics and phrasing. Video clips of performances on both modern grand piano and historical instruments such as the fortepiano will also be included to better demonstrate the different approaches.

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.