Stop and go: nodes of transformation and transition
(2017)
author(s): Michael Zinganel, Michael Hieslmair
published in: Journal for Artistic Research
Stop and Go is a research project investigating physical and social transformation at nodes and hubs of transnational mobility and migration alongside major pan-European road corridors in a geographic triangle between Vienna, Tallinn, and the Bulgarian-Turkish border. It draws on intensive embedded field trips with a mobile lab (a Ford Transit van) using (deep) mapping, workshops, installations, and exhibitions both on tour and in a stationary work space in a Vienna logistics hub (a former railway station). Intermediate and final results have been represented in diagrammatic drawings, maps, and (animated) graphic novels.
Collecting Walks
(last edited: 2020)
author(s): Elsa van der Linden
This exposition is in progress and its share status is: visible to all.
catching moments by collecting walks
Chris Dave: A Live Analysis (Dec. 2015)
(last edited: 2019)
author(s): James Wood
This exposition is in progress and its share status is: visible to all.
Can you play in time and out of time?
What is the drummer's role in a band setting?
What are the philosophies of performance innate when sampling, when contrafacting, quoting or manipulating other people's work?
How is Chris Dave "the most dangerous drummer on the planet"?
The paper and performance attempt to answer these questions through a stylistic analysis and evaluation of a drum performance of Chris Dave, unpacking his innovative and conceptual reinvention of drum-set performance.
PhD - architectures of speed
(last edited: 2017)
author(s): Ned McGowan
This exposition is in progress and its share status is: visible to all.
In 2016 I began work on a PhD at Leiden University / Orpheus Institute via DocARTES program. Supervisors: Henk Borgdorff, Marcel Cobussen and Richard Barrett.
Architectures of speed: reinventing the tools, functions and potentials of speed within rhythmical frames in music.
The speed of rhythms in live acoustic music, literally the velocity at which notes are sounding, can be defined in absolute terms based on clock time. But there is also the perceived speed that, in the simplest terms, states that musical material can seem fast, slow or some other relational quality.
Speed is articulated by sounding rhythm. Rhythms, however, manifest themselves through a myriad of various implicit and explicit frames, depending on the musical context, including tuplets, meters (traditional and "irrational"), tempo, polytempos, pulses, polypulses, polyrhythms (superimposed frames), additive frames, divisive frames, metric modulation, time brackets and other structures. Through analysis and composition this PhD will research the current practice, precise identities and possibilities of the various time frames in music and the bearing they have individually and in combinations on the speed of the music.
Is Music Universal?
(last edited: 2016)
author(s): Ned McGowan
This exposition is in progress and its share status is: visible to all.
An oft-heard statement is that music is the one true universal language. While this may be a nice phrase to promote harmony between cultures, the question arises: is it actually true? Can the same piece of music communicate the same thing to people from different cultures?