The philosophy of Gilles Deleuze and its resonating discourses have become increasingly relevant to the field of Artistic Research, and Deleuze is now a key reference for many artist-researchers engaging with knowledge across artistic, academic and non-academic fields of practice. DARE 2015: The Dark Precursor was the first conference attempting to trace the encounter between artistic research and Deleuze’s world. The Second International Conference on Deleuze and Artistic Research, DARE 2017: Aberrant Nuptials, continues that mapping, readdressing the question ‘How can communication occur between heterogeneous systems?’ through the associated concepts of ‘aberrant nuptials’ and ‘zone of indeterminacy’.
Orpheus Open Circuit celebrates the start of the new season. On Sunday September 3 the Orpheus Institute opens its doors for a late summer’s afternoon of new live electronic music. Composers, sound artists and improvisers – gathered under the research cluster Music, Thought and Technology – present new work that engages, challenges and fascinates. They are joined by artists from the Orpheus Electric Salon in a programme of performances, installations and public interventions.
We all now inhabit a common technological world. Come and join the Orpheus Open Circuit as we imagine how it is changing the way we all think about making and understanding music.
Juan Parra and Jonathan Impett (BE) present a hands-on introduction to the software environments most used by serious sound, interaction and multimedia artists: Max and Pd. These are flexible and powerful tools, but grounded in a few straightforward principles. You will quickly learn the basic concepts so that you can begin to develop your own ideas. Whatever, your own musical language, just bring a laptop and headphones (Max offers a 30-day demo version, and Pd is free).
Coordinator: Tiziano Manca
Conservatorio Luigi Cherubini di Firenze | Conservatorio Giuseppe Verdi di Milano | Orpheus Instituut Gent
The Orpheus research cluster MusicExperiment21 increasingly developed a component of ‘staging compositions’, and the work of Romeo Castellucci has functioned as an important reference to the team. This study day with an expert on his work, will present and discuss Castellucci’s aesthetics and techniques. Joao Francisco Figueira is an architect (studies in Oporto and Venice, PhD in Helsinki), professor of architecture at Lisbon University, and a researcher on the value and power of “images”. He is the series editor of YMAGO, having edited and published books by Georges Didi-Huberman, Jacques Ranciere, Daniel Arrasse, Horst Bredekamp, Hans Belting, Viktor Stoichita, and Aby Warburg, a.o.. He follows the work of Romeo Castellucci since two decades and has given presentations on his work throughout Europe.
The research cluster 'Declassifying the Classics' was pleased to welcome Charles Shrader from University of Pennsylvania, whose research questions about Steibelt and the French pianistic school intersect and challenge our own. The morning’s round table revisited the subject of the French tremolo, in discussion and through performance. Michael Pecak performed Louis Adam’s Sonata in C major, Op. 8 No. 2, in its entirety, followed by Tom Beghin performing Beethoven’s Sonata in C major (“Waldstein”), Op. 53.
The lecture demonstration on Beethoven's Erard of the previous evening drew together performers, musicologists, instrument builders, and music lovers from Royaumont, Paris-Sorbonne, and various locations in Belgium. The study day extended some of the lively conversations held in the aftermath of the event.