VOLDELIG LYD
(2019)
author(s): Edvard Haraldsen Valberg
published in: VIS - Nordic Journal for Artistic Research
At our concerts we want to be firestarters for chaos, the unexpected, and fierce moshpits. We attempt to establish directionless energy with no particular purpose other than to fuck shit up in an everyday existence that we often feel to be dull, passive and predictable. Through this practice there is in particular one type of experience for which I have garnered an interest – what role danger and fear can play in a musical experience. And, right in the midst of it; the encounter of “zen” in chaos. When I, by chance, came across an article on danger music it became clear that danger in music already was conceptualized. What sort of experiences do we share? What accesses to understand the phenomena danger music is there? What place can these seldom and special experiences of mine of quiet, calm and clearness have in danger music?
Unrevealed Revelations: Philbert-Kalinda Technique for dance and performance
(last edited: 2023)
author(s): Jamie Philbert
This exposition is in progress and its share status is: visible to all.
This essay provides an introduction to Kalinda and Philbert-Kalinda Technique for dance and performance. It explores the tradition of Kalinda, a sacred martial tradition in Trinidad and Tobago in relation to the creation of a multi-modal pedagogy and performance practice rooted in its form. This multi-modal arts pedagogy and performance practice is freedom based and derives from an African-Caribbean diaspora futuristic ancestral technology.
Bruno Munari and the invention of modern graphic design in Italy, 1928-1945
(last edited: 2023)
author(s): Alessandro Colizzi
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This study of Alessandro Colizzi examines Bruno Munari's work as a graphic designer from the late 1920s to mid-1940s, with the aim of understanding the emergence and characteristics of the modernist trend in Italian graphic design. Taking shape in Milan, an original 'design culture' eclectically brought together two quite different strains of Modernity: a local tradition represented by the Futurist avant-garde, and a European tradition associated with Constructivism. Munari (1907- 1998) worked simultaneously as painter and as advertising designer. Concentrating on Munari's stylistic development, the study seeks to explore the interaction between the Futurist visual vocabulary and conceptions coming from architecture, photography, abstract painting, and functionalist typography that trickled in from central and northern Europe. The discussion positions the designer in his time and place, concentrating as much on the artefacts as on the broader cultural framework. Secondly, the study attempts to assess Munari's reputation against a body of exemplary work, based on firsthand documentation. It is the first extensive, detailed record of Munari's graphic design output, and as such provides a substantial base for a full understanding of his œuvre.