Historical Clarinet Mouthpieces: An Analysis and Re-creation studyHistorical Clarinet Mouthpieces: An Analysis and 3D Re-creation study
(2023)
author(s): Sergio Sánchez Martín
published in: KC Research Portal
The mouthpiece of a clarinet plays a crucial role in sound formation and tuning, and there is still great potential for research within the field of historical clarinet mouthpieces.
This study explores the relationship between mouthpiece shape and performance practice in the first half of the 19th century when significant changes occurred in clarinet history. The author examines historical mouthpieces from various collections and creates 3D-printed replicas for experimentation. The research investigates how mouthpiece shape relates to changes in reed positioning and national styles, and how 3D printing technology can aid in understanding historical mouthpiece design.
The study finds evidence of a causal relationship between changes in reed positioning and mouthpiece geometry, especially reflected in the dimension of the mouthpiece window. The creation of a functional 3D-printed historical mouthpiece and experimentation with variations in shape shed light on how different parameters of the mouthpiece geometry affect the sound response. The research offers a useful tool for historical clarinet players to choose mouthpieces in a more historically informed way.
∂ Topological Landscapes
(2021)
author(s): András Blazsek
published in: Journal for Artistic Research
∂ Topological Landscapes (2015–ongoing) is a multisensory environment that comprises three projects, all based on research into the controversial healing instruments designed by Southern California inventor Royal Raymond Rife (Nebraska, 1888–California, 1971). Rife’s early twentieth-century scientific work involved light microscopy, frequency theory, and the concept of pleomorphism, which he applied to study formal differentiation in viral cells. One of Rife’s aims was to develop methods and mechanisms that would allow him to use frequencies to kill viruses.
∂ (curly d) is the symbol for ‘boundary’ in general topology. In this research, it is employed as a mathematical symbol that links the study of shifting material surfaces with an inquiry into the fluctuating borders between art and science. It posits that abandoned possibilities in scientific error and failed experiments may harbour other futures.
In its three projects, ∂ Topological Landscapes works with different technologies of reproduction using 3D animation, 3D printed sculpture, sonification, and prototype-making to explore findings from various attempts to replicate Rife’s instruments. The necessary information for creating these replications was gathered from the object archive of the Science Museum of London and from the two former sites of the inventor’s research: the Scripps Institute of Oceanography in La Jolla, San Diego, and the Linda Vista Hospital in Los Angeles.
Digitally Produced Jewellery: Tactile Qualities of a Digital Touch
(2019)
author(s): Sofia Hallik, Darja Popolitova
published in: Journal for Artistic Research
The importance of tactile contact between the artist and their jewellery has increased over the last decade. More and more artists now implement digital technologies into their work process. This raises questions about the notion of tactility, something that is usually associated as something tangible or given to touch. The authors show that there is a different sensorial mode of engagement with jewellery presented on the screen: during the 3D modelling process or 3D printing. This article aims to investigate the intangible qualities of tactility in the field of digital crafts, while focusing on the material, technical, performative, and psychological aspects. The outcomes include a set of tactile qualities evoked by screen-oriented labour and machinery production: resolution sensitivity, thin-skinned data, psycho-performative realism; and fingerprints, incompleteness and glitch.
Additive Photography
(2019)
author(s): Ives Maes
published in: Journal for Artistic Research
Since the invention of photography, there have been numerous hybrid experiments between photography and sculpture that testify to a continuous influence of sculpture on photography and vice versa. In my own visual work, I am researching the physical, sculptural and architectural aspects of photography. I am analysing a number of historical experiments, from the 16th century camera obscura pavilion to 21st century digital processes, which I apply to my artistic practice. A particularly important example is the photosculpture process of François Willème. In the late 1850s, he aimed at reproducing sculpture with the help of photography, creating a distinctive union between the two media. His method to extrude sculptures from photographs laid the ground principles for the 3D scanner and printer. In this exposition I bring to the fore how the work of Willème propelled its significant influence towards today, and how it inspired me to create new visual work. At the same time, this experience constitutes an exemplary case study on how theoretical research can steer the creation of visual research.
Poetics of landness
(last edited: 2024)
author(s): Sigrid Espelien, Stacy Jo Scott, Arely Amaut
This exposition is in progress and its share status is: visible to all.
Poetics of landness/Tiémpo de las tierras/Landaktig poesi is an ongoing collaboration and exchange platform between Stacy Jo Scott (OR, USA), Arely Amaut (Cuscu, Peru) and Sigrid Espelien (Oslo, Norway).
The exposition contains text, videos, drawings and it is meant to be seen on a laptop.
Å lese en murstein / To read a brick
(last edited: 2023)
author(s): Sigrid Espelien
This exposition is in progress and its share status is: visible to all.
En murstein er lokal og universell samtidig. Hvordan leser vi en faktisk murstein, hvis vi ser på den som et dokument? Formatet, fargen, grovheten, merker etter verktøy eller fingre kan si noe om tid, brenning, sted, teknikk og en kropp. Gjennom nesten to år har jeg besøkt Sendstad gård på Nes i Hedmark, et tidligere produksjonssted for murstein, der jeg har jobba med spørsmål rundt leire, sted, kropp og teknologi.
A brick is local and universal at the same time. How do we read an actual brick if we see it as a document? The format, color, roughness, marks from tools or fingers can say something about time, firing, geology, technique, and the presence of a body. For almost two years, I have been visiting Sendstad farm on Nes in Innlandet, a former production factory for bricks, where I have worked with questions about clay, place, body, and technology.
Delta
(last edited: 2022)
author(s): Svein Petter Knudsen
This exposition is in progress and its share status is: visible to all.
Maskinene jeg utvikler skal være enkle å bygge og operere.
Det er viktig at det er brukerne selv som bygger maskinen, da det ligger mye læring i en slik prosess som senere vil gjøre dem selvhjulpne med tanke på vedlikehold og videreutvikling.
Med maskinene jeg utvikler kan man skape sin egen bærekraftige arbeidsplass som tilrettelegger for en lokal småskalaproduksjon.
Maskinene er tenkt skalerbare og kan dupliseres med at de selv kan lage mange av sine egne komponenter.
Creative performer | Performing creative
(last edited: 2022)
author(s): Arend Jan Hendrik Strootman
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Results contribution lectorate 'music, education and performance' KC 2020-2021