El cos reflectit; com el vestir condiciona l’imatge del propi cos.
(2020)
author(s): Carla Gine
published in: Research Catalogue
L'eix generador d’aquest projecte parteix de la necessitat de visualitzar com el propi cos es veu condicionat per el vestir. Analitzant com el vestir actua a mode de motlle sobre la pell i indagant amb aquest condicionament que porta al cos a l’adaptació. En aquesta investigació es desenvolupen diferents pràctiques que inclouen la fotografia, el disseny i la generació de textos reflexius.
Aquestes pràctiques es presenten com artefactes que son accesibles a través de la plataforma del Research Catalogue, en el context d'una investigació a través de l'art i el disseny. Es genera així una investigació que aposta per l’experiència estètica i no per una explicació discursiva, posant al servei del subjecte observador una aproximació al cos vestit desde el reconeixement.
Photography Bound: Rethinking the Future of Photobooks and Self-publishing
(2020)
author(s): Adria Julia
published in: Research Catalogue
Curated by Antonio Cataldo and Adrià Julià. Organised by Fotogalleriet, Oslo and KMD, University of Bergen. Throughout this three-day event, Adrià Julià's students at the University of Bergen will actively partake and lead discussions
Photo-based books and self-publishing are a vital emancipatory motor of discussion bringing communities across space and time together. The intent of this conference is manifold; firstly it aims to look at the historical structures for production that enable a multiplicity of voices to speak from their subjective positions. Secondly, addressing the current modalities that give contemporary practitioners, designers and publishers advantages and limitations within the field. Thirdly it addresses the future of photo-based publications through grant systems.
To rethink the current moment which is challenging existing structures and demanding systemic change, this seminar represents a desire to rethink the Nordic Photobook Award. Initially, Fotogalleriet ran the award from 2012–18 in order to accompany upcoming voices within the field by co-producing photobooks with chosen candidates.
The seminar's ultimate goal is to evaluate relevant structures of support providing the possibility to continuously provoke theoretical and practical change.
CONFIRMED SPEAKERS: Terje Abusdal, Abdul Halik Azeez, Heidi Bale Amundsen, Delphine Bedel, Bruno Ceschel, Paul Gangloff, Erik Gant, Hans Gremmen, Roberto Figliulo, Cosmo Großbach, Sohrab Hura, Kay Jun, Aglaia Konrad, Moritz Kung, Silja Leifsdottir, Hailey Loman, Catalina Lozano, Vijai Patchineelam, Bonaventure Soh Bejeng Ndikung, Anna-Kaisa Rastenberger, Mette Sandbye, Ursula Schulz-Dornburg, Ahlam Shibli, Æsa Sigurjónsdóttir, Ina Steiner, Niclas Östlind, Stanley Wolukau-Wanambwa, and Antonio Zúñiga. With a discussion about Nordic funding with Anne Lise Stenseth (moderator), Tom Klev, Henri Terho, Annika Thörn Legzdins, Klara Þórhallsdóttir and Tine Vindfeld.
lenguajes multimodales :D
(2020)
author(s): juls
published in: Research Catalogue
Aqui voy a poner mis notas y trabajos de la clase de lenguajes multimodales, es mi primera vez haciendo algo de este tipo asi que solo espero que salga bien y se vea bastante lindo y ordenado, o no lo podre entender.
Designed to allow for Emergence: A Learning Rhizome
(2020)
author(s): Alexios Brailas
published in: Research Catalogue
“Systems Theory, Psychology, and Social Media” is an Erasmus course offered by the Department of Psychology at Panteion University, Athens, Greece. In this course, Erasmus students co-create a unique and wonderful multi-cultural mosaic, ‘the difference that makes the difference.’ In addition to lecturing, participants are engaged in intensive group work during the weekly face-to-face meetings. Between the face-to-face meetings, participants create blog reflections, narratives, and multimodal artifacts about their in-class lived experience regarding the impact social technologies and artificial intelligence have on living systems. Backed up by the technological infrastructure, a network of interconnected personal blogs, students develop a reflective group ecology of practice. The whole project is informed by complex systems’ epistemology. This virtual research exposition demonstrates the overall process in a non-linear and multimodal way. Implications for rhizomatic learning theory and education are discussed.
Standing on Earth
(2020)
author(s): Grėtė Šmitaitė
published in: Research Catalogue
The research of March-August 2020 approaches environment and society as constantly in-formation, while one is opening one’s eyes upon them, always a participant of them.
The research was led by:
-rigorous practice of observing, adapting and dancing ‘out in the open’.
Seeking to uncover the dance that has the sizzling, restless feeling, the butterflies in the stomach. Dance that would primordially reveal connections between elements and in such way uncover the possibilities of experiencing what they are. Polyrhythms, joining consonant and dissonant were there as the access points.
-reading Tim Ingold and diving into the understanding of the world that is worldling, that is changing as the weather does.
-reading Contact Quarterly Contact Improvisation Source book, perceiving these meetings of letters as a platform that encourages to think around the power and various facets of contact; that inspires to build by staying in dialogue.
-weaving webs of sharing one’s doings with other artists - staying in dialogue in the form of letters and calls. With: mentor of the research Stephen Batts and the very inspiring colleagues Christine Quoiraud, Rūta Junevičiūtė, Hanna Kritten Tangsoo, Magdalena Meindl, Lyllie Rouvière, Forough Fami, Iivy Meltaus and others. Last to mention the exchange that happened without my prior understanding with Giedrė Šmitienė who at that time was researching relations through the letters of poet Janina Degutytė.
The Freestyle Orchestra: Questioning Norms in Classical Concert Performance through Ross Edwards’ Maninyas Violin Concerto
(2020)
author(s): Chanda VanderHart
published in: Research Catalogue
The Freestyle Orchestra is a performance collective of classically trained musicians exploring and questioning the limits of how an orchestra can express music in performance. They strive to create an aesthetic Gesamtkunstwerk on stage, incorporating physical movement, aerial arts, staging, lighting, costuming, and fire manipulation in live music performance. Building on contentions regarding the inherent physicality of musical performance as well as precepts within Embodied Music Cognition Theory asserting that meaning-formation is corporeal, they themselves research, train and perform as interdisciplinary artists, constantly experimenting with novel ways to communicate the movement and gesture they experience when listening to music more immediately to their audiences.
The collective is convinced that this aspect of inherent physicality is something which has been sacrificed to the work-centric focus of classical music (and therefore neglected within conservatory training), and believe manifesting the movement they perceive within some music is a natural process which can itself generate meaning for both performer and audience. They envision the body as an instrument and strive to amplify musical gestures and meaning through physical movement, simultaneously enhancing and more deeply expressing their own understanding of musical compositions.
This exposition introduces a 2019 collaboration with Australian composer Ross Edwards which resulted in a choreographed performance in City Recital Hall in Sydney of the composer’s Maninyas violin concerto. It combines audio-visual footage, photos and texts contextualizing the research process, which included contemplation and re-enactment of Edwards’ own musical journey in creating his Sacred and Maninyas styles, a way out of a personal musical crisis. Edwards’ perspectives on the ecstatic and fundamental connections between nature, dance, ritual and music/sound fed the physical and stage treatment as well as the processuel, experimental research of the Freestyle collective as they constructed their own, interdisciplinary performance of the concerto.