Research Catalogue

בין עין חוד לעין הוד אין עוד. מופע דוקו-תיאטרלי

In this exposition I’m showing you my journey for these past two years of investigating my artistic practice through the meeting of identity and aesthetics. Due to my Iranian background, I have felt a need and curiosity to bring together my Iranian and European identities. This project is a dialogue between myself and music, encompassing sounds, arrangements, physical presence, materiality, technology, context, and politics. By politics I mean; history, cultural appropriation, diversity, colonisation, beliefs, and the current needs of the western culture. A project involving confrontations with habits, default parameters, and elements within digital audio workspaces, thereby incorporating scales.

"How can illustration approach the non-representable?" The question is linked to ways of commemorating the children who died during the Holocaust and what kind of representations could be appropriate. As part of a workshop drawing process, information is unfolded about children whose existence was previously documented only by the ghetto archives and the deportation lists made by the Nazi-German administration of Litzmannstadt ghetto. The methodology has been developed though workshops. In the final step of part I, the project investigates how the material may be developed to a book/archive.

With "Withdrawing the Performer. Facilitating Participatory Sense-Making", Imani Rameses (Center Research Focus, PhD candidate PhD in Art), Charlotta Ruth (Angewandte Performance Lab), and Jasmin Schaitl (Angewandte Performance Lab) combine their approaches from visual arts, choreography, and cognitive neuroscience to examine participatory modalities in immersive performative settings through the lens of social cognition. They focus on the role of the facilitator, a nearly invisible and overlooked, but highly important part of any performative situation. Working with facilitator experts in a practice-based peer-to-peer exchange, the authors seek to understand different methods for reducing thresholds and modulating participatory situations.

Sophie Luger (Institute of Architecture) and Lenia Mascha (Institute of Architecture) address the increasingly important issue of urban noise pollution. "SoundCape. Combating Environmental Noise in Urban Areas" explores how sound and noise prevention can be incorporated into architectural design. To develop building structures for noise control in urban environments, the authors examine contradictory historical approaches from architecture and acoustics to learn about the relation of sound and material. Their approach focuses on geometry; experiments with Chladni patterns show that geometrical and material properties of architectural façades have an impact on spatial acoustics and result in the design of ornamental elements that can reduce unwanted noise in cities.

Conny Zenk (Center Research Focus, PhD candidate PhD in Art), Bianca Ludewig (researcher and journalist) and Magdalena Scheicher (researcher) are interested in taking not only unusual paths but also using vehicles in different ways. In their contribution "A Collective Cycling Body Of Sound", they reflect on the bicycle as a medium for art and sound and present activist strategies of collective cycling to open up queer-feminist, solidarity-based perspectives on the city. In doing so, they explore the possibilities of public space as a sound space and discuss insights from Zenk’s activist practice. Inviting Ludewig and Scheicher for interviews, Zenk discusses bikefeminism and counterpublics, and approaches soundrides as a form of empowerment.