PLAN TO UNPLAN
precarious spaces between homo ludens and homo sapiens
by Lisa Streich
main supervisor: Ellen Ugelvik
co-supervisors: Eivind Buene and Helmut Lachenmann
Submitted 13th of March 2024 Presentation of Artistic Results
in partial fulfillment of the PhD in Artistic Research 13th of April 2024
at the Norwegian Academy of Music Konserthuset Stockholm, Sweden
PLAN TO UNPLAN precarious spaces between homo ludens and homo sapiens is a Ph. D. project in artistic research realised with kind support from the Norwegian Directorate for Higher Education and Skills and the Norwegian Academy of Music (NMH).
PLAN TO UNPLAN contains both artistic output and reflective components in line with the regulations for Ph. D. projects in artistic research at the NMH. The so called "Norwegian model of artistic research" (kunstnerisk utviklingsarbeid / "artistic development work") is a unique research model internationally1 where the artists processes through the artmaking is central, using methods such as auto-ethnography and/or action research. Unfolding tacit and explicit artistic knowledge in a way that mirrors the processes itself is a goal. By exploring experimental ways of sharing this knowledge, the reflective components will have impact on the musicmaking and the artistic results; my compositions.
The term "unfolding" is useful trying to grasp what artistic reserach can hold, here in the words by Darla Crispin:
"Using the word ‘unfolding’ in the context of knowledge-creation in the arts implies a different relationship between the states of non-understanding and understanding than that suggested by the more traditional research-related concepts of ‘discovery’, ‘invention’, and so on. It carries the notion of a knowledge that is always close to us: within reach and already an intimate part of our everyday experience, yet somehow enigmatic and wrapped in upon itself until skilfully opened out to our direct gaze."
Crispin, Darla. Artistic Research as a Process of Unfolding, Research Catalogue, 2019
My researchmodel has its risks. It is of highest importance that the investigations transcend from the personal sphere and become something others can use. "The research must mean something to someone other than myself to be considered research" 2, has been a motto. Experimenting with ways to unfold and share my processes, both systematically and artistically has resulted in the BOOK OF CHORDS. The book is my attempt to connect to both professional musicans and laymen. For me it was essential to create a reflection and unfolding that is open to both professional musicans and laymen, as I believe artistic research and making art is some sort of fundamental research for society.
The output of PLAN TO UNPLAN precarious spaces between homo ludens and homo sapiens can be devided in two parts;
A) the artistic results (a portfolio of compositions)
B) my reflective components (the chapters in this Research Catalogue exposition and a flipper)
The BOOK OF CHORDS is a hybrid of an artistic result and a reflective component
ARTISTIC RESULTS
FLÜGEL for orchestra, published by RICORDI, 2020 (score and documented performance)
NEROLI for violin and orchestra, published by RICORDI, 2021 (score)
JUBELHEMD for quartet and orchestra, published by RICORDI, 2021 (score)
BALLHAUS for orchestra and props, published by RICORDI, 2022 (score)
ISHJÄRTA for orchestra, published by RICORDI, 2023 (score and documented performance)
MEDUSE for trumpet and orchestra, published by RICORDI, 2024 (score and documented performance)
ALFABET for quarter tone down tuned piano and percussion, 2024 (score)
BOOK OF CHORDS, published by Kleinheinrich Verlag, 2024 (book)
B) REFLECTIVE COMPONENTS:
PLAN TO UNPLAN (Research Catalogue exposition) with chapters:
- PIECES, CHORDS AND PRECARITY - where I unfold how i work with the chords from the book and with precarity
- BOOK OF CHORDS - where I describe the work processes around the book
- SWITCHING PLACES - where I analyze my choreographical conducting experiences
- HISTORY/ARTISTIC FIELD - where I outline the context of my work
- DISSEMINATION - an overview of activities in the Ph. D. project period
- OUTRO - final thoughts and gratitude
BOOK OF CHORDS, published by Kleinheinrich Verlag, 2024 (book)
DAUMENKINO - flipper, published by Ernst von Siemens Musikstiftung, 2023
PERFORMING PRECARITY (Research Catalogue exposition by a project group I was part of paralell to my individual Ph. D. project )
PLAN TO UNPLAN is an exposition unfolding my Ph. D. project in artistic research. The goal of my Ph. D. project was to write music as I always do, but at the same time explore ways to share my reflections during the composing processes in new formats. By developing the BOOK OF CHORDS I was able to systematically study my main material, the possibilities that lay in specific chords, both in poetry and photography. For me the book is an exploration and exposition of my main material and serves therefore both as an artistic result and a reflective component in the project. The chords in this book are divided into fourteen expressive categories.
possible definitions of precarious:3
precarious pre·car·i·ous | \ pri-ˈker-ē-əs\
Adjective
1: depending on the will or pleasure of another
2: dependent on uncertain premises : DUBIOUS precarious generalizations
3: dependent on chance circumstances, unknown conditions, or uncertain developments
4: characterized by a lack of security or stability that threatens with danger
This space or time could be called limbo, hereafter, parallel world or the other side of homo sapiens. It is a moment where I can understand or feel the whole meaning of human existence – just for a split second. A moment that is free of singularity and full of plurality, parallelism, possibility.
In my opinion a certain alertness is needed in order to transcend homo sapiens (knowing man) to homo ludens (playing man)4 and that is easier reached when something is unpredictable or precarious. All the senses are activated to be fast enough to react to the unforeseen. This alertness is transferred from the composer to the performer and then to the listener. It lies like a big truth or lie in the little room of performance that takes place beside our own little life and the limbo, hereafter or the other side of homo sapiens.
In my compositions I try to create “extreme” situations for both performer and listener by using new settings, registers, formations and contrasting material to create something unforeseen. Something that may differ from performance to performance, and performance space to performance space.
ETHICS
Ethics in artistic research are vital for protecting participants, ensuring integrity, respecting cultural sensitivity, promoting transparency, and fostering social responsibility. There has been a strong focus in forums and seminars during the research program around this theme and concerning my writing I have often asked myself whether it is ethically justifiable to expose musicians to precarious situations, especially orchestral musicians who do not have total control over the literature they are playing.
Moreover I am analysing the spectra of amateur choirs on the internet, and using this data for my instrumentations. I can't ask the choirs for permission as it's often not evident who's singing. Also in my instrumentations one can't recognize the samples anymore, but my music is a derivation of these recordings, and these voices are essential to my work, but I can't credit them. I feel there is in some sort an ethical issue that i couldn't solve. During multiple discussions with fellow researchers about this subject though, it became clear that, as the samples aren't recognizable and even less the humans behind, this doesn't cause an ethical issue objectively even though it might feel like one subjectively.
The audio recordings and pictures in the "PIECES, CHORDS AND PRECARITY" section and the video recordings and pictures in the "SWITCHING PLACES" are used under the fair use doctrine for educational purposes and nonprofit research, criticism and commentary.