Research Catalogue

A new filigrane sound object (or series of objects) in the making, w.i.p.

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)

Lintuihin liittyvän taiteellisen tutkimukseni kohdalla pohdin ensin lintukatoa ja voisinko taiteen avulla tukea lintuja pesinnän onnistumisessa. Jossain matkan varrella huomasin, etten tiennyt keitä nämä linnut ovat, joiden kanssa pyrin toimimaan. Halusin ystävystyä pihani lintujen kanssa, oppia tuntemaan niitä. Rakensin "lintukopin", jossa vietin aina puoli tuntia kerrallaan. Olen kuvannut nämä puolituntiset ja kirjannut kokemuksista oleellisimmat seikat ylös.

"(...) 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.