Research Catalogue

A 2-part module by the MA Transdisciplinary Studies of ZHdK, Department Kulturanalysen und Vermittlung. Held by Anna Rubi & Eirini Sourgiadaki. Autumn 2023-Spring 2024 Colour perception varies, so do the semantics of colour terminology, for both sighted and blind individuals. The questions around colour perception from ophthalmology or neurobiology perspectives to cognitive and artistic ones, are infinite: Is there a universal human experience of the blue sky, the green grass and the brown soil? How is colour perceived in the brain, how is it translated into a communicable concept and how does it affect our perceived world, our mental and physical state? What is the role of colour in synesthesia? And most importantly, does colour have to do just with vision? In this module we work with the generation of blue colour on print, using the major light source available, the Sun. The Island of Amorgos is often referred to as “Le grand bleu” after the famous french film was shot at location. Its ancient name is “Melania”. “Melani”, the Greek word for ink, (“Melano” for dark blue, cyan) as it is said that in ancient times the place was covered with dark green flora. Our investigation begins exactly with this deep tint. We pay a visit to the famous monastery and the water oracle, walk the trails to observe the sensual -not only vision-based- shades of blue. In the spring term, we participate in local activities such as beach clean-up initiatives of the remote bays by local fishermen and their boats. We visit bee-hives and herb-distilleries, we work with the most basic bits and pieces of the island to capture its essence.

Oversikt over utøvende virksomhet

2024-2025 Manuel Rodriguez

Presence in Embodied/Encoded is concerned with the physical and embodied dimensions of musicking in relation to digital-informational representations of such phenomena. I explore presence through practices of recording, creative coding, audio production, and spatial electronic music composition. Of particular interest is the link between presence and the sensual/corporeal aspects of sound production and listening. Research in embodied music cognition and extended reality provide a foundation for this type of meaning formation. In the context of immersive electronic music, I suggest that physical presence – a sense of ‘being somewhere’—emerges not just from images/representations of place, but from peripheral aspects of the (embodied) acoustic experience such as spatial proximity and distance, diffuseness, resonance and reverberation, noise floor, etc. Consequently, musical meaning in “Embodied/Encoded” moves away from the symbolic dimension of electronic sounds toward meaning as an outcome of embodied interaction with the environment. The concept of presence can also apply to ‘mixed’ music, or combinations of acoustic and electronic sources, in which virtual presence is complicated by real bodies and spaces. Digital technology renders sound a flexible, malleable entity—a ‘flickering’ signifier to borrow from Hayles—capable of reconfiguring presence in creative ways. The dance between encoded and embodied dimensions inspires and informs this artistic research. Through a body of immersive music and multimedia documentation, I unpack connections between presence and its digital abstractions.

My performance art practice as an artist and researcher has become crucial to test ideas that theoretically catch my interest. For example, years ago I was convinced that performance art compositions were a miracle because of the Chaos theory in physics, where organized chaos was so complex that it was too difficult to perceive the origin, development and end of each action in time-space here and now. Within the context of an event of actions and the probabilities, time stretches out in many directions, making the observable constellation of actions more than chaotic, but four-dimensional almost, in a way that the past, present and future of the actions become one: Anticipation. Therefore, Anticipation in actions becomes crucial to understanding that action could fail even in a prediction, as an action goal is scored to be done, performers in present time-space, live simultaneously in the past present and future of the action, the tension between the action-goal is the vibration, but the anticipation is all the probabilities merge with the past and future of this action. Multidimensional perception requires a performer to perform within an action to improve training and work out through several performance preparations. An example is how to cross at constant speed a mass of crowded people and not change direction. Anticipation switches your present to be merged with your past and future. Such a concept is how I improve daily in my performance lab with the participants of my performance laboratory.

The purpose of this project is to explore how we can minimize the climate impact through the way we plan, produce, and support performing arts productions. The overarching research question was: How can we continue to create relevant and innovative performing arts with a smaller climate impact? The faculty in performing arts at Stockholm University of the Arts worked with Harry Martinson's Aniara from their various disciplines.