Research Catalogue

The research explores 'ornamenting' as a transferable method in inter-disciplinary studies, inter-faith dialogues and artistic/therapeutic practices. Adapting techniques of Renaissance musicology, the processes we have developed de-create and re-create vital connections. It is a communica-tions strategy for times of crisis. Starting with simple sonic relations we extend the method far be-yond its traditional musical setting. The practice utilises 'Nothingness' as a component of creativity, providing a novel response to figurations of nothingness as mere negation. Preliminary results sug-gest its potential as a counter force to nihilism and social dislocation. The work divides into four areas. 1. Primary research on relationships between sound, meaning, and the sense(s) of self, exploring how sense is made of Otherness via processes akin to musical praxis: consonance, dissonance, 'pure voice' and ornamentation. 2. To apply this new perspective to a range of exile experiences – mourning, social disconnection, ex-communication and aggres-sive 'Othering'. 3. To investigate the cancelling of normal time-conditions in crisis situations such as trauma, dementia, and mystical experience, relating non-linear temporality to creative practice and healing. 4. To widely disseminate our results and methods as contributions to the methodology of artistic research via journal articles, live workshops and performances, and a book of original, praxical, testable, and teach-able interventions.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

Exposição do seminário "Desperfilar as artes visuais, o objeto enlouquecedor e o movimento das coisas", organizado dentro do programa “Arquipélago” promovido pelo ID_CAI - IDENTIDADES_Coletivo de Ação/Investigação (i2ADS). O evento pretende no âmbito das artes visuais e performativas fazer uma aproximação de uma análise transdisciplinar do perfil histórico, epistemológico e categórico no qual o sujeito e a natureza são percebidos, o território é pensado e a ciência se funde. Este evento se insere no programa do projeto de investigação “From the top of the moutains we can see invisible monuments: transnational artistic investigation on landscape environmental changes caused by infrastructure space” (i2ADS), e acontecerá nas instalações do Instituto de Investigação em Arte, Design e Sociedade, na cidade do Porto, nos dias 3 e 4 de Outubro de 2024.

The work presents selected parts of a women's academy in the form of a short film, which was originally performed once at the Viennese court in 1697. The video is the result of an interpretative approach based on the acting techniques of the period when this academy was created. The music harmonises with the movement, which, in turn, follows the affect of the text. The filmed scene was rehearsed by students, graduates and teachers of the Department of Early Music at the University of Music and Arts of the City of Vienna (MUK) as part of the course “Period Acting Techniques“ under the direction of Margit Legler. This work contributes to the visualisation and imaginability of this historical event, where five authors and singers presented speeches, poems and music they had composed themselves on a specific research question. In addition to the score of the selected parts, this publication includes a historical report on the creation of the academy, summarising the findings of a dissertation on music history dedicated to this event (Pumhösl 2014). It concludes with a personal reflection on how the performance of today's interpreters changes when they employ period acting techniques in speeches, recitatives and arias.

The following article presents the current status of the artistic research project Method of Vienna (MoV) and answers the questions: How can I imagine the MoV initiative in detail? Which methodological approach was chosen? Which MoV events have been realized so far? The presentation ends with a personal reflection after six years of commitment to Method of Vienna, in which current observations, conclusions and the future of the project are put up for discussion.

Originating from antiquity, the idea of associating colour with music has been researched extensively in recent decades. The terms for this phenomenon include crossmodal correspondences and synaesthesia (or chromaesthesia), both of which refer to associations our brain makes from stimuli that it perceives through different senses. Correspondence between sound and music, and light and colour, has been a scholarly topic for years—mostly from a scientific point of view. This thesis aims to investigate different views on the subject, focusing on its artistic/aesthetic rather than neurobiological components. Music-colour correspondence was born from the need of philosophers to make sense of both music and the world. Linguistics has proven ambiguous when used to explain or make sense out of music, hence colour has been a very powerful replacement. It is possible to draw parallels between sound and light because of their similar ontological nature (vibration). The goal of this thesis is to prove that such an association can enhance a classical music performance for the audience (as related to engagement) and for the performer (as related to analysis, artistic input). As a case study, Olivier Messiaen’s Theme and Variations is analysed in this rather unconventional colour-coded way. Keywords: synaesthesia, chromaesthesia, crossmodal correspondences, Olivier Messiaen, colour and music.