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

"(...) a cidade (...) consiste somente de um lado de fora e de um avesso, como uma folha de papel, com uma figura aqui e outra ali, que não podem se separar nem se encarar", um lugar onde as partes, os contrastes e o movimento participam numa dança infindável. E é a busca pela compreensão da linha ténue entre o sim e o não, o claro e o escuro, o tudo e o nada, que dá nome ao nosso trabalho, Oppositions. “(…) the city (…) consists only of an outside and a reverse, like a sheet of paper, with a figure here and there, which cannot be separated nor face each other.”, a place where the parts, contrasts and movement participate in an endless dance. And it is the search for understanding the fine line between yes and no, light and dark, everything and nothing, that gives name to our work, Oppositions.

Every now and then JSS publishes a non-themed issue. What happens in general is that, over several months, people have submitted papers outside of a call for papers, or outside a thematic issue that is planned. After having collected enough of those papers, we start the usual (external) peer review and editing processes and publish an issue that has no focus on one theme which will be explored in depth, but one that presents the versatility and width of contemporary sound studies and/or sound art.

"Walking Hanoi 2024 - Reflections on improvisation, listening and being attached" is an audio visual piece, which stems from my long standing connection to Vietnam, and specifically to an artistic research project that took place in late March 2024 in Hanoi. It took place as part of an international project - led by VIetnamese researchers, musicians and artists - on thinking through how best to digitise the diverse ethnic minority music in Vietnam. A sound walk, a gamified, ambulatory listening activity, with around 50 international artists/researchers forms the basis for this reflective piece on improvisation, situated listening, on embodied being, identity and the ways we attach ourselves to things, and how things attach themselves to us. In reflecting on improvisation and being, the piece, written, narrated and produced by Franziska Schroeder, draws upon the insights of artists and writers, including Simon Rose, Donna Haraway, Lucy Suchman, Judith Butler, Martin Heidegger to reflect on the situated-ness of the 2 hour street walk in Hanoi. It is a personal reflection, informed by how unspoken, often ineffable knowledge can shape one’s internal perspective. This internal perspective, or ‘insider point of listening’ becomes a central theme in this piece, framing the perception of an improvising self in relation to her tactile and sonic surroundings.