at the end of the sentence, it rotted
(2024)
author(s): Cecilie Fang Jensen
published in: Royal Academy of Art, The Hague
at the end of the sentence, it rotted gathers written words and photos exploring how language is not purely about communication, but a medium of revealing hierarchy of bodies, as we assign and circulate signs to bodies - none of which are neutral.
Moving between auto-theoretical poetry and essays on 104 pages, I write with an I using language to explore language itself from within; appropriating how words are never innocent, when the languages we speak are the ones with political value.
Making a simple International Phonetic Alphabet (IPA)—For singers, conductors and composers
(2023)
author(s): Bas Ammerlaan
published in: KC Research Portal
This research develops a simplification of a graphical resource: the International Phonetic Alphabet. The choices made to simplify it are based on an analysis of existing diction methods. The thesis format seemed most suitable for my research, as the IPA is a graphical notation method which is meant to be used by writing it down. (While it is of course used to notate sounds, these sounds themselves are not actually the focus of the research. There are also already an abundance of audio examples for the IPA symbols.)
The IPA can be a very useful aid for classical singers, from ensemble singers to soloists, but appears intimidating from the amount of symbols it has. This research looks at which IPA symbols are used and which are not used in five different diction methods for classical singers. These are systematically analysed and presented graphically to the reader to help visualise which of all the symbols presented on the IPA chart are regularly used by singers. The end result is practical in nature: a Simple IPA chart which uses only those symbols a classical singer really needs to sing the five main languages for classical singing: English, French, German, Italian and Latin.
words meet material
(last edited: 2021)
author(s): Jelena Škulis
This exposition is in progress and its share status is: visible to all.
several authors met
in one millennium
and made words
nasty
our contribution to the common minority is meager but necessary / Elias Canetti, from Die Blendung, 1935
aspiration is to
reduce text
in its production
the conclusions are yet to come
questions will come at the end
-
Here I present little passages written by using autoethnographical approach and researching most important issues I cope during creative process. Selected short texts are the part of the artistic research connecting to themes about material and art through words. These little messages I call literature tattoos – usually performed on the skin, but the same action can emerge in the brain structure after reading. The video and artwork ’I have tried everything, nothing works’ were made in 2019, during the residency which was a part of Doctoral studies in University of Bergen, Faculty of Fine Art, Music and Design (Norway). There I was first time not using physical contact with community or handwork but was learning new technology - jacquard.
The texts in artwork =Co woven quotes from the books about artistic research. The set of rules or the menu of instructions are shown as possible (un)helper if you wish to perform (un)successful research being an artist. Phrases were picked out from books intuitively while practicing AR. The question is if, why or when they are helpful.
The whole AR is about analyzing links and boundaries between community, text and material.
Speculative Sound
(last edited: 2017)
author(s): Richy Carey
This exposition is in progress and its share status is: visible to all.
Through this paper, I propose a way of considering audiovisuality as an object in and of itself, thinking through its materiality and the role language plays in its construction. I discuss Karen Barad’s Agential Realist methodology as a way of accessing this object with a view to exploring how this might affect the way we sound an image. I propose that the essay film, or an essay film/text hybrid, is the form that can best articulates this way of thinking. I conclude by asking how a diffracted reading of the {sound-image-language} object can be used as a methodology for sounding images.
A Language of Things
(last edited: 2016)
author(s): Florian Dombois
This exposition is in progress and its share status is: visible to all.
What happens to language when we stop writing with letters, words, and other signs on paper and instead use three-dimensional objects? And if we go one step further and, rather than speaking with sounds, show one another objects in order to express ourselves? The "Language of Things" explores the possibilities of notation, communication, and poetry with a set of 100 shapes. Moving between translation and imagination, it extends its vocabulary as it proceeds.
The project began in August 2015 and makes use of Michael Schwab's 100 proto-objects:
https://www.researchcatalogue.net/view/186304/186305
Documentation of Michael Schwab's exhibition (where the LOT were held back by Belgian customs inspection):
https://www.researchcatalogue.net/view/186304/219199