Infected by theory - The Making of theoretical films
(2022)
author(s): Evi Jägle
published in: Research Catalogue
To connect or spread this to an artistic research would be a table for translating theoretical texts from Deleuze into a kinematographic vision and the background of how this can be done and why it is necessary. So it connects also with difference and repetition and its spreading power.
For example:
So art has the impact to transform things we can not say with theory and also links to the necessity to have an artistic theory. Spreading ideas and following the card of this ideas.
A deleuzian diagram for Foucault
(2022)
author(s): Evi Jägle
published in: Research Catalogue
On the basis of the diagram that Deleuze made about Foucault himself to draw a path through his work, the lines are traced that bring it into contact with the cinematic thinking from Deleuze's time-image and movement-image and which kind of junctions between the works were found. A kinematographic view on Foucault projects him onto a filmic expression. For Deleuze, Foucault’s diagram is an exterior that gives his own thinking a layered structure, a layered formation. The layers form deposits and the reference to the outside of the diagram as a cinematographic cutting apparatus calls the visibilities and sayings into question again by assembling them together in such a way that an alogical cut is created. The creation of which must be sought. The distance in the power relations, which is reflected in the visible and the sayable, was able to experience a view with a transition to the film books that attaches a constitutive character to the interval and does not have to ignore it. A video expression will give the diagram of Foucault a visible character and uses Foucaults work as instruction or stage directions for how the sayable and seeable are connected.
Double Bass in Indian Classical Music
(2022)
author(s): SD
connected to: KC Research Portal
published in: Research Catalogue
In this presentation we will discuss the incorporation double bass in
Indian classical music. Although it’s a foreign instrument to India by
origin, but it has immense possibilities for this music. We will discuss
it’s origins in India, basics of Indian classical music, similar Indian
instruments, Indian classical violin, bassists exploring Indian classical
music, cross genre & indian fusion music involving the double bass &
it’s application as an accompanying instrument in this tradition &
arguments for it’s incorporation.
COMPOSING with PIEZO
(2022)
author(s): daniela fantechi
published in: Research Catalogue
"Composing with piezo" is the title of my doctoral research which concerns the composition of instrumental music implemented with a specific use of piezoelectric microphones. During the research process, I explored a peculiar use of this technology not only to disclose and amplify the instrumental sound but also to produce otherwise unheard sounds, through a reinterpretation of some instrumental gestures, such as glissando, tapping, scraping, etc, produced by playing with the microphone directly on the instrument. Mainly because of the non-linear quality of unprocessed piezoelectric microphones, which thus present limits and different degrees of controllability and predictability - their introduction in my compositional work changed the relationships with the instrumental sound matter, bringing to question different aspects of my compositional approach. Therefore, during the whole research process, I looked for frameworks, theories, and examples, to understand and bring focus to my evolving compositional practice.
Test
(2022)
author(s): Emma Cocker
published in: Research Catalogue
published in: TestTestTestTestTestTestTest
Mellanrum: towards an entangled audiovisual practice
(2022)
author(s): Julius Norrbom
published in: Research Catalogue
This artistic research project is a document of an entangled audiovisual practice in progress. With a generative approach and thinking in systems applied to modular synthesizers and procedural computer graphics the aim is to blur the line between the process of generating sounding material and the process of generating visual material. The project represents a move from writing and performing fixed compositions towards designing and improvising with systems that output open-form pieces in real time. Through experiments with new tools and techniques based on theories and other influences, and through reflections upon these experiments, two pieces/concepts have emerged alongside the foundation for a reimagined practice. To share the journey, material and knowledge that led to these pieces and the conclusion; I have stopped writing music and started designing networks, an exposition has been constructed. You are invited to browse, scroll, click, watch, and read this non-linear representation of the project in any order you see fit.