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.

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.