Soundwalking in contested space
(2022)
author(s): Andrew Brown
published in: Research Catalogue
I am an artist researcher undertaking a Ph.D. by Published, Established, and Creative Works at Nottingham Trent University, entitled ‘Soundwalking in Contested Space’.
Soundwalking is an expanding creative discipline with its origins in situationist practices and soundscape studies. Alongside numerous fellow artists and researchers, I am exploring the far-reaching possibilities of the medium. In my thesis, informed by over two decades of leading art walks and composing soundwalks, I interrogate my own soundwalking practice, that I use as a means of investigating contested space. I consider findings from six of my soundwalks composed between 2013 and 2018 and guide the reader through my process and the methods of aleatoric composition, temporal shift, synchrony, and ordeal that, in combination, distinguish my soundwalks.
Alongside writers and theorists such as Tim Edensor, Brandon LaBelle, and Frauke Behrendt, social geographer Doreen Massey provides a firm theoretical foundation through her conception of space as ‘the product of interrelations’ and imaginable as ‘a simultaneity of stories so far’ (Massey, 2005, p. 9). While Massey adopts a generally progressive tone in her articulation of space, in recognition of the human potential that can be realised through spatial encounters, I place emphasis upon its contested nature, as a product of the unequal power relations that arise out of the everyday interactions of human beings.
My contribution to knowledge is both thematic and methodological, through my core concern of human-contested space, the specific combination of methods that I apply within my practice as research, and in the ways these methods encourage deeper appreciation and understanding. My research journey traces a path through contested urban and rural space and exposes the lived realities of human experience when utopian or hubristic visions falter or fail. My findings are directed towards researchers investigating contested space, be it from artistic, social-historical, or environmental perspectives.
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Den klingande verklighetens föränderlighet: Mot ett vidgat gestaltningsutrymme
(2022)
author(s): Tomas Löndahl
published in: Research Catalogue
This exposition is part of Tomas Löndahl's doctoral dissertation "The Changeability of Sounding Reality: Towards an Expanded Space for Interpretation" and consists of two series of experiments with works by the Swedish composer Ludvig Norman (1831–1885).
Sonic Silhouettes Musical Movement
(2022)
author(s): Winnie Huang
published in: Research Catalogue
An overview on musical-gestural artistic researcher identity and perspective through understanding the role of the artistic body through the exploration of various theories which clarify the performer’s physical presence, embodied interdisciplinary possibilities and collaborative processes.
The instrument apparatus: a prepared clarinet perspective
(2022)
author(s): Chiara Percivati
published in: Research Catalogue
The text discusses one of the different ways in which prepared instruments come to us: the form of an apparatus. Following the distinction proposed by the Merriam-Webster Dictionary (and by most other dictionaries analyzed), I will discuss the behavior of the instrument as an apparatus: 1. as a system or net; 2. in the Foucauldian sense, as a functional system of knowledge and power relations.
Remuer les cendres
(2022)
author(s): Benoit
published in: Research Catalogue
Le projet s’intitule Remuer les cendres et je propose une réflexion sur les corps non réclamés des personnes décédées à Montréal. Dans mes recherches, je m’intéresse aux histoires individuelles et collectives que j'aborde à travers la photographie et le témoignage. Plus précisément, je suis préoccupé par le thème de la mort. C'est-à-dire que je la trouve mystérieuse, silencieuse et elle vient bousculer nos vies sans avertir dans nos familles. Elle vient chambarder nos émotions et nos angoisses. Elle se déplace pour nous renseigner que l'éternité n'existe pas, et elle nous invite à vivre le néant, qui nous attend, une fois que la mort se présente.
Concert for Double Bass ‘In Absentia’
(2022)
author(s): Ivar Roban Krizic
published in: Research Catalogue
The project “Concert for Double Bass ‘In Absentia’” explores the effects of spatial displacement between performer and audience on the production and reception of free improvised practices. An instrument fitted with contact speakers and placed in a space becomes a conduit for sound, creating a reversal of roles–the audience is present in the performance space while the performer streams an improvisation from another location. This setting breaks established conventions and expectations of a performance situation, and therefore allows for a thorough analysis of the various ways in which improvisatory practices are perceived and conceptualized. The framework of the performance provides stimulation resulting in a series of qualitative interviews with members of the audience on the topics of absence, classification, perception of musical form, distraction, and interaction. Through these interviews, clear irritations in relation to the absence of a performer have been observed. These initial irritations in turn stimulated heightened levels of imaginative thinking and listening during the performance. This project shows how an experimental performative setting can provide a starting point for subsequent theoretical research.