Research Catalogue

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.

1º objeto: dispositivo para facilitar o ver e o sentir. 2º objeto: portal (ponte entre a cidade de Kuldiga e a floresta)

VESTÍGIOS SOLTOS – PERFORMANCE Helsínquia, Finlândia

"(...) 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.