Research Catalogue

an international database for artistic research

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  Coalesce (2024) author(s): Laura Adel published in: Research Catalogue
  Interactive environment based on Kinect Azure sensor where the participant draws shapes of his body. When the time passes, the frozen still images of their movemnt go higer.
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  Bonus materials: To Start from Scratch (2024) author(s): Karl Salzmann published in: Research Catalogue
  This exposition contains bonus material (audio-visual) on the doctoral project "To Start from Scratch" by Karl Salzmann (ARC - Artistic Research Center, University of Music and performing Arts in Vienna, Austria, 2024). It presents a selection of documented artistic works, prototypes, performances and materials developed during the research process.
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  Portfolio (2024) author(s): Fausto Lessa published in: Research Catalogue
  Although the bass guitar is a relatively young instrument compared to most other chordophones, its performance has often been confined by tradition, following near-dogmatic conventions of ‘what’ and ‘how’ to play. At the core of these tenets is its monophonic accompaniment role, primarily articulating melodic lines in the low-frequency range with rhythmic patterns. Portfolio presents eight compositions that explore the bass guitar beyond this paradigm. These original solo pieces are outputs of an artistic research thesis and constitute a thematic album centered on a polyphonic approach to the bass guitar.
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• Textile Cartographie (2024) author(s): Célia Ferreira published in: Research Catalogue
  Textile Cartographies is a participatory action research project using textile arts as story telling, coordinated by APECV Research Group on Arts, Community and Education (GriArCE) with 29 groups from universities, schools, collectives and NGOs in Americas; Africa; Asia; Australia and Europe. The project aims to give voice to minority and peripheral groups in relation to issues such as environment; climate justice; social justice and other sustainability issues through exploring visual discourses using arts and textile technologies.
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  ANTHONY BRAXTON'S TRICENTRIC THOUGHT UNIT CONSTRUCT AND POST WAR WESTERN ART MUSIC (2024) author(s): Kobe Van Cauwenberghe published in: Research Catalogue
  The perception of the canon of post-war Western art music today is still strongly determined by a constructed dichotomy which keeps Western art music separate from evolutions and radical experiments in jazz and African-American music. The very extensive oeuvre and philosophical body of thought of the American composer Anthony Braxton, what he calls his Tri-Centric Thought Unit Construct (TCTUC), can be seen as the metaphorical elephant in the room. This unique oeuvre has been largely ignored to this day within the repertoire, discourse and performance practice associated with the canon of post-war Western art music. This research project takes Anthony Braxton's TCTUC as a starting point to see how I, as an interpreter of Braxton’s music, can contribute to a broadening of this canon. My intention with this research is to provide artistic responses to the gaps within the existing discourse on post-war Western art music (see Braxton, Lewis, Piekut, Born, a.o.) by approaching a wide selection of Braxton’s compositions on his own terms. By putting these works as specific case studies on the agenda of relevant actors such as the conservatory, contemporary music festivals and concert series and through recordings and other media, I aimed to make a canon broadening possible through my practice as an interpreter. The results of this research, presented in the form of concerts, lectures, articles, workshops and recordings, are collected in this Research Catalogue website.
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  We Invite You To Sleep With Us (2024) author(s): Kimey Peckpo published in: Research Catalogue
  As a child my father sung me to sleep with folk songs weaving pain, desire and death. This milieu was comforting and his circumstantial act (not a decision) shaped my sense that songs are a technology of meaning. Is meaning a word for perceiving the story with ourselves as a part of it? Plato told a story about how the dialectic will separate us from becoming a part of the cosmos. F. Scott Fitzgerald told a similar story about a man bound to an idealised concept of beauty who cannot find his way back to the cosmos of feeling. He cannot emerge into the pragmatism of what Catherine Malabou calls the “one life only”. A N Whitehead describes this as the event of the past emerging into the present into the future. Using song, I speculatively invite attendees to experience meaning inside the event. As a researcher drawn to Barad’s ideas of the intra-relational, I feel stories are the cosmos expressing itself. In stories, as with Plato’s Republic, we can accidentally describe the problem. Fred Moten is clear on how maintaining a reciprocal assemblage methodology in the lyric creates an ability to “stay with the problem”, “Let’s call it the scene of empathy. Lets call it the hesitant sociological scene. The scene of the in calculable rhythm. It is a scene neither of subjection nor objection. Looking with this hearing is a kind of building with or bearing.” (2017) My research, along the song lines of Whitehead, Moten, Deleuze and Guattari et al, has arrived in the region of singing in academia. I enjoy the irony of Katherine Rundell concluding in her essay in defence of books that when you make them inaccessible to a child, “you cut them off from the song that humanity has been singing for thousands of years… To fail to do everything we can to help children hear that song is a stupidity for which we should not be forgiven.” We Invite You To Sleep With Us because my father’s songs were a gateway to the somatic experience of sleeping, a region where we are once more a part of.
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