Research Catalogue

Here you can browse the archive of research expositions. This includes: - Research projects of all master students. - Publications by the lectorates. - Research by staff members.

Center for Art Design + Social Research Un-Writing Nature Spoleto, Italy

A cross disciplinary artistic research project that departs from, and investigates several encounters and alignments between Contemporary Art and Archaeology. Its primary goal is to create a broad selection of autonomous and collaborative artistic, poetic and scientific expressions and responses to Prehistoric Art and its contemporary images. It will seek to stimulate a deeper understanding of contemporary and prehistoric artistic expression and the contemporary and prehistoric human condition. The participating artists and archaeologists will create autonomous projects, but also interact with each other in workshops, seminars and collaborative artistic projects. The secondary goal of Matter, Gesture and Soul is to establish an international cross disciplinary research network at the University of Bergen and strengthen the expertise in cross disciplinary artistic and scientific work with artistic research as the driving force. The project is financed by DIKU and UiB and supported by Global Challenges (UiB)

Table of contents JSS issues

Editorial: Sounding the Contradictions in and of the (Post-)Soviet Realm

In the early years of the Soviet era, the music of two Russian faith traditions was forced into the shadows. Siberian shamans preserved chants and folk knowledge despite intense persecution, and Russian Orthodox monks preserved early forms of plainchant in remote monasteries away from the watchful eye of the government. Sofia Gubaidulina (b. 1931), herself a member of the richly-historied and often-marginalized Tatar people, became a practicing Russian Orthodox Christian in the 1960s. During the 1970s, she began performing improvisations with her ensemble Astraea, familiarizing herself with many instruments used by Siberian shamans. Her references to shamanism continued to increase among her concert-hall compositions over the following decades. As a new generation began to embrace the freedom to part from state-sponsored atheism during the 1990s and 2000s, shamanic chanting and Russian Orthodox Znamenny chant experienced a renaissance of practice and scholarly interest. Gubaidulina responded with her music: in her 2005 flute concerto …The Deceitful Face of Hope and of Despair, Gubaidulina’s flute soloist takes on the role of chanter. Drawing on Tia DeNora’s research in the sociology of concerto forms, Kofi Agawu’s framework of musical “topics,” and the composer’s own reflections on the concerto metaphor, this article analyzes how Gubaidulina frames the solo flutist as Siberian shaman and Russian Orthodox cantor within subsequent episodes of this concerto. In this way, the soloist “speaks” through the music of these faith traditions that remained underground for much of Gubaidulina’s adult life. …The Deceitful Face of Hope and of Despair is a flute concerto deserving of its title, demonstrating the dynamic potential of works by post-Soviet composers to contend with the sociological tensions that affect any individual whose cultural, ethnic, or spiritual identity has been the target of discriminatory policies.