Networks are everywhere these days. In effect, the new information technologies are interconnecting all aspects of our world, enabling unseen levels of social, political and economic interdependencies that characterise our times. The notion of Networks has become an extremely powerful metaphor, serving as a cornerstone for understanding this new complex, interconnected world.
Networks have transformed the creation, production and dissemination of art such as to change its very nature as a cultural artefact or human activity. Such a powerful trope allows for a wider range of interpretations and development. Moreover, it can serve as the ideal bridge between conceptual considerations from the technological and scientific domains, and creative/compositional enquiries from the artistic field.
This seminar provides a forum for exploring these ideas and approaches, their commonalities and representations and for considering the wider creative and explanatory potential of networks.
In her work Cathy Van Eck looks for possibilities to compose relationships between sound, gesture and object. During the presentation, she will discuss her recent compositions and sound installations and how research and artistic output is combined in these. These include a research project with ethnographers on headphones, an interactive installation using wind, and performances exploring forms of demonstration. In all these works microphones, loudspeakers and several kinds of sensors play an important role. How these technologies interact with her aesthetic ideas will be an important focus during the talk.
Vincent Roumagnac explores different medium from and within the broad notion of stage, from performance and installations to video experiments. His art practice is based on time-specific explorations of the scenic mutations that emerge from the strategy of permutation between the backstage and the stage agencies at the time of a shift of representational paradigm demanded by the current climatic crisis.
Music, and the arts in general, has always been a source of inspiration in times of crisis; it establishes rapport between peoples and cultures and serves as a laboratory for the creation and expression of cultural values.
Dissolving Borders invited proposals that will investigate and problematize how musicians create political spaces that transcend demarcated space and culture, on scales both global and local, macro and micro. We seek work that engages with the complex realities of inter-cultural contact, including issues of migration, communication, integration, acceptance, and symbiosis. As the world experiences radical displacement during an era of unprecedented enforcement of borders, we seek earnest engagements with the vibrant history of music’s entanglement with these issues. Looking to past musics, musicians, and scholarship, we encourage imaginations of music’s current and future role as a cultural and political agent.
Baroque and classical pieces are performed with electric guitars, laptops, and video projectors. They are exploded into digital images and enacted by the breathtaking contemporary dancer Marlene Monteiro Freitas. Robert Schumann’s famous piano fantasies Kreisleriana, are played in dialogue with texts by Roland Barthes and Friedrich Nietzsche, submersed in a three-screen video projection and live-electronics.
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’.
In recent years, HIP research of later repertoire has become increasingly interested in the value of old recordings. Strangely, these documents often testify to performance practice techniques that seem to be at odds with the instructions or preferences found in the methods and other written documents by the very performers who made the recordings. As a consequence, there has been a tendency to doubt the reliability of written sources in general, a particularly frightening proposition when one considers that for performers who died before the early 20th century, written sources form a large part of the only performance practice evidence that exists.
This presentation will contend that written sources have more validity than we realize, especially when we examine them less literally, but take into consideration the context and above all, the tone of voice which the author expresses his ideas. By comparing the writings and the recordings of specific performers from the late 19th and early 20th centuries, it becomes evident that in some cases, the written document may even shed more light on the musical and performance preferences of that artist. This analysis can also therefore give us guidelines for how to read the words on performance instructions from musicians who did not leave us acoustical recordings.
Unique premiere of Inside The Hearing Machine, a documentary on Beethoven's hearing machine directed by Steven Maes. This event is also the official launch of the CD with the same title, with performances of Beethoven's piano sonatas opus 109, 110 and 111 by Tom Beghin.