Joana Sá is a Portuguese pianist and composer, who is currently developing a PhD in Musical Performance at Aveiro University (Portugal). Her proposal for being a visiting researcher at the Orpheus Institute was accepted and she will be working in the MusicExperiment21 cluster from 21 June until 14 July.
Saturday, June 24, 14:30-18:30
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.
Orpheus Electric Salon returns with a flash-sequence of events in June – weekly sessions to show, learn, develop and play sound-work. Nicolas Collins hosts a series of guests addressing topics important to everyone working with sound. Calling musicians (electronic and steam), sound-artists, multi-media artists, performers, composers, hackers, instrument builders – these salons cover a range of ideas relevant to us all, whether established practitioner, curious musician or absolute beginner. Each week there will be hacking workshop, a chance to share your work, a hands-on introduction from expert artists to crucial elements of contemporary sound-work – and perhaps a chance to play together.
Thursdays 17.00 – 21.00 through June. Registration is free, but required.
Following several meetings with Paulo de Assis (Research Fellow at the Orpheus Institute) David Savat accepted the invitation to take up a position as visiting researcher at the Orpheus Institute. He will be working from 17 May until 14 June and from 13 to 24 November with Paulo de Assis (MusicExperiment21 research cluster), as they share an interest in the work of Gilles Deleuze. Dr Savat will also work closely with Jonathan Impett in the Music, Thought and Technology (MTT) research cluster. David Savat is a lecturer and former discipline chair of Communication Studies at the University of Western Australia in Perth (Australia), executive editor of the journal Deleuze Studies journal, published by Edinburgh University Press, as well as series editor of Bloomsbury’s Schizoanalytic Applications series.
10-12 May 2017
Intensely debated in the fields of visual arts, art theory, and philosophy, the notion of the contemporary describes different practices, relating to disparate conceptual horizons. However, if distinguished from the contemporaneous, the contemporary becomes a selective concept: it promotes or excludes things and practices according to their ability of diagnosing previously unnoticed aspects of the present. In this sense, it gains a critical function, involving particular modes of relating to history and to one’s own time.
Following Roland Barthes’ claim, who—inspired by Nietzsche, and quoted by Agamben—said that “the contemporary is the untimely”, the contemporary might suggest artistic practices that run against their own time and epoch, implying specific forms of resistance.
Beyond historicising frameworks, the 14th International Orpheus Academy for Music and Theory—Futures of the Contemporary—will explore and discuss new modes of thinking the contemporary in the arts, particularly focussing on music and music performance.
Lectures by Babette Babich (US), Chaya Czernowin (US/IL), Heiner Goebbels (DE), Claus-Steffen Mahnkopf (DE), Peter Osborne (UK), Michael Schwab (UK), and Paulo de Assis (BE/PT).
(only in Dutch)
Communicatie & Digital Media Coördinator (m/v) voltijds
Je werkt binnen het office team van het Orpheus Instituut. Als Communicatie & Digital Media Coördinator zet je het Orpheus Instituut via verschillende communicatiekanalen op de kaart. Je gaat daarbij in interactie met onze studenten, onderzoekers, volgers, bezoekers. Je jongleert met onze digitale ‘touch points’ zoals website, e-mail, social media, video/audio, etc. Hiermee vertel je ons verhaal, geef je Orpheus Instituut een gezicht en informeer je gerichte doelgroepen over het onderzoek en de onderzoekers aan het Orpheus Instituut. Je weet wat leeft in de digitale wereld en je helpt ons te groeien in dit veld.
Je staat het office team bij in de organisatie van onze events (praktische uitwerking van de maandelijkse opleidingssessies, onderzoeksactiviteiten, etc.). Je communiceert met de betrokkenen (gastdocenten, studenten, (in house) onderzoekers, etc.), je vraagt de nodige informatie om de activiteit te promoten, je regelt contracten en je maakt technische afspraken.
Je beseft nu al dat jouw functietitel veel meer beslaat dan hierboven beschreven.
In February 2016 composer and oboist Heinz Holliger was invited to the Orpheus Instituut in Ghent, by pianist Jan Michiels. During his visit to Orpheus he explored his relation to his own music and to the music of others like Debussy or Schumann - by playing, explaining and coaching. The video recordings of this event are now published online.
Composition as Critical Technical Practice
Orpheus Research Seminar 2016
21-23 November 2016, Ghent, Belgium
The arts of the twentieth and twenty-first centuries have pushed us relentlessly to question inherited notions of the self, expression and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Increasing globalisation and the development of recording and photographic technologies, running alongside psychoanalytical understandings of selfhood and the impact of scientific principles of uncertainty, are often theorized as having prompted a crisis of identity, representation and authenticity. At the same time, the throwaway playfulness of pop culture and digital manipulation offer endless possibilities for self-reinvention. It is perhaps harder than ever to know who 'I' am, but 'I' am ever more self-aware. The fluid, dynamic, embodied and contingent qualities of subjectivity are experienced on an everyday basis.
During the first half of October Orpheus Institute welcomed its first South African visiting researcher: Mareli Stolp. Mareli is not only an excellent piano performer, specialized in contemporary classical music, she is also an inspired advocate of Artistic Research practices in her native country. Orpheus Research Fellow Luk Vaes engaged with her in a stimulating chat, and as a result of this encounter, Mareli accepted Luk's request to write a guestentry on his Artistic Research Reports-blog.