Graphic Storytelling
(2024)
author(s): Pinzón Lizarazo Oscar Daniel
published in: Research Catalogue
Esta página web recoge la memoria del proyecto narración gráfica a partir del proyecto Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con Cód. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Científico - CIDC de la Universidad Distrital Francisco José de Caldas.
Hace parte del proceso metodológico de desarrollo de la tesis doctoral Narración Gráfica de Experiencias: Intercambios en Imágenes de migración.
Como Laboratorio de investigación - creación ha indagado y trabajado en sus 17 años de existencia en procesos de creación, gestión, investigación, formación y producción de conocimiento desde tres líneas de trabajo:
- Imagen, arte y cultura: como campo de prácticas pedagógicas y estudios de la cultura; donde se cruzan diversos discursos sobre la identidad, los procesos de memoria, lo simbólico, es de interés la sistematización de prácticas artísticas en donde surgen experiencias generadoras de conocimiento sensible.
- El conocimiento libre: Trabaja en la elaboración conceptual de talleres y laboratorios de creación con procesos que se desarrollan desde el concepto de cultura hacedora, promueve el aprendizaje activo, la colaboración abierta, el D.I.Y. y su aplicación en diversos escenarios y contextos.
- La narrativa y la lectura: Se han trabajado procesos de mediación y agenciamiento desde hace mas de 15 años, acompaña sus procesos desde el estudio y elaboración de propuestas creativas que refieren a la narración gráfica y los cruces generados entre las nociones de objeto, plataforma, libro, público y sus relaciones en los procesos de difusión, promoción, producción, edición y diseño de piezas interactivas.
Este proceso fue concebido por Daniel Pinzón Lizarazo quien es Doctorando en Estudios Artísticos de la Universidad Distrital, Magíster en Escrituras Creativas de la Universidad Nacional de Colombia, Diplomado en Antropología del arte de Latir A.C. y el CIESAS en México, Diplomado en estudios editoriales por el Instituto Caro y Cuervo; Licenciado en educación artística de la Universidad Distrital, trabaja como docente, investigador y creador, ha sido gestor y asesor en el diseño de políticas referentes a las pedagogías del arte y la cultura.
And _ Blinkbonny Avenue and strangeness of everyday life
(2024)
author(s): Niina Marjatta Turtola
published in: Research Catalogue
This is a research project into building an artist book that uses typographic devices and page layout in construction a multilayered narrative. Everyday life and actual events are part of of the narrative backbone and this is mostly photographic material. Another layer consists on dialogues (verbal, email, etc) between 2015- and ongoing between the two researchers involved in the project. This is language-based written material. Third layer is the thematic context in building the actual book which happens in the academic presentations, performances and knowledge disseminations.
A Garden of Sounds and Flavours: Establishing a synergistic relationship between music and food in live performance settings
(2023)
author(s): Eduardo Gaspar Polo Baader
published in: KC Research Portal
During the past decade, there has been a surge in the literature about crossmodal correspondences, consistent associations our minds establish between stimuli that are perceived through different senses. Correspondences between sound/music and flavour/taste have received particular scholarly attention, which has lead to a variety of practical applications in the form of food and music pairings, mostly examples of so-called ‘sonic seasoning’, a way to use sound to enhance or modify the tasting experience.
This thesis aims to explore the pairing of food and music from an artistic perspective. Its goal is to find tools that would allow to present both music and food as components of coherent live performances in which neither of them is a mere ‘seasoning’ to the other. Through the description and exploration of different ‘mediating elements’ between them (such as crossmodal correspondences, but also structure, ritual, narrative, and others), a wide range of possibilities is presented to whoever wants to match food and music in a truly synergistic manner.
Readers interested in multidisciplinary, interdisciplinary, or transdisciplinary artistic practices of any kind might find the outcomes of this research useful for their own work.
Transient sound
(2023)
author(s): Alicia Lazaro Arteaga
published in: Research Catalogue
Art, and music, have the capacity of placing us in front of the symbolic. They bring us closer to everything we cannot understand in a rational manner, allowing us to see ourselves from the inside. Going back to the notion of music as a transformative ritual, a role that has had along centuries in most societies. Music as a sacred space.
This exposition explores the relationship between music and text. Placing the idea of narrative as part of the music, connecting storytelling with sound. By using folklore stories as a structural element in the composition process, I have attempted to grasp the emotional landscapes inside of the tales and translate them into music. This process has been crystallized into several pieces that show the path between the starting point, which was using a text to create music, and the broader conception of music as an experience that involves not only sound but images, space, and movement.
Raising the Voice: Sculptural and Spoken Narratives from the Flat Sheet
(2021)
author(s): Hannah Clarkson
published in: Journal for Artistic Research
This exposition explores ideas of narrative and storytelling through sculptures and texts raised from a flat sheet, a kind of visual and spoken poetry which is both particular and multiple.
In this paper, the key area of investigation will be the relationship between sculptural and spoken narratives in my practice. This is engaged with in four main areas:
• The flat sheet and the fold as sites for storytelling
• Multiplicities inherent to storytelling
• Architecturality and the space between bodies and buildings
• Words, text and the voice, and their relationship to sculpture
I explore the role of the architectural in the space between sculptural and spoken narratives, both of which are forms that begin with a flat sheet. The research also looks at how one might write about art in order to expand understanding but not reduce it to one meaning, writing around or through objects so as to leave gaps for the imagination and other narratives. The importance of the voice in the telling of these narratives is investigated, as well as the relationship between bodies and buildings.
MEMORY AS A METHOD FOR FILMMAKING
(2019)
author(s): Emilio Angel Reyes Bassail
published in: Journal for Artistic Research
This research develops a method for filmmaking that uses autobiographical memory as a guiding principle for the production of images. The proposed method comes as the result of a double gesture in which I wanted to a) acquire a subjective understanding of memory that came from artistic practice; and b) materialize the process of memory through film.
I used the filmmaking apparatus as a technique to give visibility to the process of remembering and forgetting: I worked with strategies such as the elaboration of a “memory diary”; the drawing of spoken portraits and locations based on memories; casting techniques which involved a dialectical approach towards memory; scouting trips to find places from my memory; hypnosis sessions as a technique to recover lost memories; reenactments of memories; a method to direct actors that relied on memory as a guiding mechanism; and the editing of the footage through a process of memory associations.
While doing this research, I inadvertently found that the techniques I used led to a process in which memories were rewritten through experimentation. Thus, the method produced a conceptualization of "memory" that frames it as a creative process. In the process of working on this project, I developed a very subjective approach to the craft of filmmaking that was informed by my particular relationship with memory. Thus, the proposed method of using personal memory as a core mechanism for the production of audio-visual products can be utilized as a tool for film education, promoting the creation of personal film languages based on an individual's memory, and as device to reflect on the subjective process behind an individual's artistic practice.
Ornamenting Vocality. Intra-active methodology for Vocal Meaning-Making.
(2018)
author(s): Elisabeth Laasonen Belgrano
published in: RUUKKU - Studies in Artistic Research
This exposition departs from the silence of a non-existing voice. A voice about to touch the ears and eyes of both author and readers/listeners. A voice already sounding in the head of the author - sounding as thoughts, words, letters and sentences. A non/voice being part of a never ending development of new materialities. An onto-epistemological voice diffracted through a singer's process of making sense of a lesson from a 17th century vocal manuscript. A voice as a mattering method for the art of singing through new materialist theories, vocal and discursive narratives and somatic awareness.
This exhibition is an island
(2017)
author(s): Kit Hammonds
published in: Journal for Artistic Research
Based around my catalogue essay for Yu-Chen Wang's exhibition 'Nostalgia for the Future' (Taipei Fine Art Museum and Centre for Chinese Contemporary Art, Manchester, 2016), I consider how exhibition narratives are formed. As an experiment in 'curatorial writing', the essay draws from the evolution of science fiction. The method is discussed as reflective rather than explanatory of the artist's practice.
Immersion and proximity: music, sound, and subjectivity in The Memory Dealer
(2015)
author(s): Sarah Hibberd, Nanette Nielsen
published in: Journal of Sonic Studies
With a focus on narrative film music techniques and sonic constructions of subjectivity, this article explores the soundtrack of The Memory Dealer. We account for whether and how immersion is achieved and discuss the ways in which TMD brings novelty to the area of sound studies, not least through its relevance for phenomenology. Analyzing participants’ responses, we argue that immersion in TMD is less dependent on a narrative understanding of the soundtrack and more reliant on a particular kind of subjective immersion that is deepened and maintained through sound. We show how, in order to achieve this immersion, the soundtrack needs to support a balance between players’ self-reflection and their self-consciousness: whereas the former can deepen engagement, the latter can be distracting and pull the player out of the experience. The various levels of subjectivity and sonic interaction in TMD reveal new avenues for immersion through sound in pervasive drama.
“It’s probably just me”: The Literacies of Pervasive Sound Narratives
(2015)
author(s): Elizabeth Evans
published in: Journal of Sonic Studies
This article explores how The Memory Dealer reveals the multiple literacies at stake in pervasive, transmedia, multimodal drama that open up new relationships between player, text, technology and space. In contrast to much scholarship on digital and media literacy, which focuses on children, the focus here is on adults who are already well versed in a range of media-related literacies, including “new” forms such as videogames and digital media, but are simultaneously not “digital natives”. Three specific forms of literacy emerge: narrative, technological and geographical-logistical. When participants came across moments of difficulty with these literacies, they articulated this failure as a form of personal inadequacy. At the same time, key diegetic components such as music, setting and performance aided their re-learning of how to locate and understand TMD’s narrative.
Inside the Narrative
(last edited: 2024)
author(s): Gustav Kvaal, Torkell Bernsen
This exposition is in progress and its share status is: visible to all.
The aim of this artistic research project is to create a VR documentary experience that narrates the story of a time witness from the second world war in Bodø, Norway. The project explores questions concerning visual storytelling and ethics in the encounter between the VR-audience, interviewed subjects and the audiovisual spatial design. Artistic and qualitative research methods have been employed to explore how different visual modes and contexts alter the experience of narrator and narrative in a media format characterized by its ability to place the viewer in a state of immersion, intimacy, and a sense of presence. Theoretically, this study is situated in an artistic landscape connected to media theory, journalism, ethics and visual communication. Concepts such as postmemory, media witness ethics, with the so-called risk of improper distance and considerations around the term distant others, are relevant for the reflection associated with the project.
Tools of Vulnerability
(last edited: 2020)
author(s): Maria Walczuk
This exposition is in progress and its share status is: visible to all.
My film work has revolved around a hypothesis of vulnerability with my artistic research question:
in the context of interviews and the larger scope of cinematic storytelling, how can tools to access vulnerability be a symbolic key to unlocking the transformative power of resilience in a narrative?
Proposed Methodology:
I. The Privilege of Listening
II. The Power of Silence
III. Trust & Intuition
IV. The Light of Vulnerability
V. Discovery of Resilience
From paper to performance: nonverbal communication as a vehicle for expression
(last edited: 2019)
author(s): Renato Dias Peneda
This exposition is in progress and its share status is: visible to all.
This artistic research project focuses on the use and role of nonverbal communication as a means to effectively communicate narratives and display characters in modern percussion works, with particular emphasis on visual cues, i.e. physical appearance and kinesics – facial expressions, posture, and body and ocular movement. Research into this topic was motivated by the author’s desire to become a more expressive performer and had the added benefit of expanding the author’s solo percussion repertoire. The research strategy applied was the realisation of two case studies, on Cie. Kahlua’s Ceci n’est pas une balle and F. Sarhan’s Home Work. The mixed methods approach to the topic included literature research, analysis of the scores and videos of performances, interviews, coaching by experts in music, theatre and dance, quasi-experiments, and autoethnography. The interventions resulted in the author’s own versions of the compositions, each with its own narrative and corresponding characters, which are made clear by the use of nonverbal cues. In addition, the author designed a general method for preparing engaging performances that can be followed by other musicians and thus provides a contribution to the field. By the end of the research process, the author had improved his body awareness, stage presence, and nonverbal communication skills to the point where he could effectively communicate his artistic ideas to the audience.