Research Catalogue

Een artistiek onderzoek naar de creativiteit van mijn team vanuit procesgerichte didactiek

The aim of this artistic research project is to create an illustrated VR documentary experience that narrates the story of a time witness from the second world war in Bodø, Norway. The project explores questions concerning visual storytelling and ethics in the encounter between the VR-audience, interviewed subjects and the audiovisual spatial design. Artistic and qualitative research methods have been employed to explore how different visual modes and contexts alter the experience of narrator(Time witness) and narrative in a media format characterized by its ability to place the viewer in a state of immersion, intimacy, and a sense of presence. Theoretically, this study is situated in an artistic landscape connected to media theory, journalism, ethics and visual communication. Concepts such as postmemory, media witness ethics, with the so-called risk of improper distance and considerations around the term distant others, are relevant for the reflection associated with the project.

Conceived and co-organised by Emma Cocker, Alexander Damianisch, Cordula Daus and Lena Séraphin, this Society of Artistic Research Special Interest Group (SAR SIG) provides contexts for coming together via the exchange of language-based research. The intent is to support developments in the field of expanded language-based practices by inviting attention, time and space for enabling understanding of/and via these practices anew.

This project investigates Western musical instruments as being critical and even dangerous sites, which should be approached with the greatest of caution. Approached as liminal interfaces between the living and the dead, suspended between past(s) and present(s), turning these instruments into both paranormal and parasitic sites, which should be treated as such. Instruments as pathological contaminated bodies of parasitic discourse ready to jump at you and embed themselves in you, sedimenting within you and, subsequently, playing you. Instruments as haunted sites saturated with ghostlike matters of toxoplasmatic ectoplasm, fostering ghosts with the capacity to possess and inflict pain on to other bodies, active in the past as well in the present. With an interest in the notion of instrumentalization and what instruments can mean, control, and do to bodies, instruments are approached from a safe(r) distance through different (group) interventions, raising questions on how best to emolliate and soften the instrumental body? How to soften the big silent? How to soften the sedimented?

In my artistic research project, I embarked on an exploration of the continuum between the roles of a music producer as both facilitator and initiator. Through in-depth engagement with real-world scenarios in professional music production, I examined the dynamics and nuances of how these roles negotiate, intersect, and shape the final artistic outcomes. This investigation not only unveils the intricate processes that underpin music creation but also highlights the implications these negotiations have on the resulting works of art. The findings shed light on the subtle artistry embedded in production decisions and offer a fresh perspective on the evolving landscape of music production.

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.