Percussion Theatre: a body in between

2018 ◽  
Author(s):  
◽  
Jennifer Torrence
Keyword(s):  
Contemporary Music ◽  
Music Performance ◽  
The Body ◽  
John Cage ◽  
Artistic Practice ◽  
Research Project ◽  
Art Forms ◽  
Recent Developments ◽  
And Performance

What does the musician become when sound and instrumental thinking are no longer privileged as the foundation of a musician's practice? In what ways does an emphasis on the musician's body cause music to approach art forms such as theatre and performance? After a generation of pioneering work from Mauricio Kagel, Dieter Schnebel, John Cage and many others, where is the theatrical and the performative in music today? How do its recent developments shape, alter, constitute a musician's artistic practice? Through her research, Jennifer Torrence argues that this type of music demands the musician assume a different understanding and relation to their instrument and therefore a different relation to their body. This relation calls for new ways of making and doing (new artistic practices) that foreground the body as a fundamental performance material. Through an emphasis on the body, the musician emerges as a performer. This exposition is a reflection on the research project Percussion Theatre: a body in between. This project is comprised of a collection of new evening-length works that approach the theatrical and performative in contemporary music performance. These works are created with and by composers Wojtek Blecharz, Carolyn Chen, Neo Hülcker, Johan Jutterström, Trond Reinholdtsen, François Sarhan, and Peter Swendsen. The exposition contains reflections on recent developments in contemporary music that mark a mutation of the executing musician into a co-creating performer, as well as images, artefacts, videos, and texts that unfold the process of creating and performing the work that constitutes this project. The ambition of this exposition is that through the exposure of a personal artistic practice an image of a larger field may come into focus.

Are there things only artists can do?

Forum+ ◽  
2020 ◽  
Vol 27 (3) ◽  
pp. 45-53
Author(s):  
Carolina Bonfim
Keyword(s):  
Visual Arts ◽  
The Body ◽  
Artistic Practice ◽  
Research Project ◽  
Content Type ◽  
Practice Based Research ◽  
The Relationship

Abstract This article seeks to share the methods and strategies of the practice-based research project Ninety movements on TECHNOGYM G6508D. The research dissects the act of running in all its dimensions by fragmenting, archiving, incorporating, and highlighting what is unique and personal in each gesture and each way of moving. Ninety Movements is a continuation of Carolina Bonfim’s recent artistic practice, which explores the relationship between the body and the archive through a visual-arts approach.

When arts and science meet: Digital technology in artistic research

2021 ◽  
Vol 13 (2-3) ◽  
pp. 117-140 ◽  
Author(s):  
Giusy Caruso ◽  
Luc Nijs
Keyword(s):  
Teaching And Learning ◽  
Music Cognition ◽  
Music Performance ◽  
Digital Technologies ◽  
The Body ◽  
Artistic Practice ◽  
Use Of Technology ◽  
Performance Interpretation ◽  
Piano Composition ◽  
Artistic Research

In recent decades, advancements in digital technologies have become a rich source of inspiration for artists, who seek to leave the trodden paths and find novel ways of expression. In addition, digital technologies are increasingly implemented in the development of artistic skills, providing new means to develop the artists’ reflection on their own development. As such, they hold great potential to shape artistic research. Moreover, digital technologies offer possibilities to capture the learning process based on quantitative measurement, thereby becoming a potential interface between artistic and scientific approaches to investigating artistic growth. This contribution presents two artistic projects illustrating the potentialities of the art–science encounter. Embedded in the research paradigm of embodied music cognition, both projects explore the role of the body in music performance (interpretation and improvisation). The first project investigates the relation between gesture and interpretative intentions in a contemporary piano composition. The second project concerns the development of one’s musical language through kinemusical improvisation. A mixed methodology and the use of technology as ‘an augmented mirror’ to monitor artistic practice were applied. Both projects illustrate how the implementation of digital technologies may boost the evolution in artistic research and facilitate novel approaches to music teaching and learning.

Gestural Performance of Electronic Music—A “NIME” Practice as Research

Leonardo ◽  
2016 ◽  
Vol 49 (1) ◽  
pp. 84-85
Author(s):  
Jan C. Schacher
Keyword(s):  
Electronic Music ◽  
Music Performance ◽  
Musical Instruments ◽  
The Body ◽  
Practice Research ◽  
Artistic Practice ◽  
Expressive Performance ◽  
Or Practice

The practice of gestural electronic music performance provides a valid context for artistic or practice-based investigations in the field of ’NIME.’ To this end, the material and conceptual conditions for the development of performance pieces using gestural actions need to be explored. The use of digital musical instruments and concepts for the expressive performance with digital sounds leads to questions of perception—by the musician and by the audience—of movements and actions, the body, the instruments, and of their affordances. When considering this performance mode as a topic for investigation, it becomes evident that in order to be based on practice, research in this field needs a definition and differentiation that helps to identify the specific perspectives that are only made possible through application in an actual artistic practice.

scholarly journals ARE THERE THINGS ONLY ARTISTS CAN DO? ARCHIVING THROUGH A TREADMILL

Cena ◽  
2021 ◽  
pp. 215-221
Author(s):  
Carolina Felice Bonfim
Keyword(s):  
Visual Arts ◽  
The Body ◽  
Artistic Practice ◽  
Research Project ◽  
Practice Based Research ◽  
The Relationship

This article seeks to share the methods and strategies of the practice-based research project Ninety movements on TECHNOGYM G6508D. The research dissects the act of running in all its dimensions by fragmenting, archiving, incorporating, and highlighting what is unique and personal in each gesture and each way of moving. Ninety movements is a continuation of Carolina Bonfim’s recent artistic practice, which explores the relationship between the body and the archive through a visual-arts approach. KeywordsArchive. Body. Embodiment. Methodology. Practice-based Research.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

Novel Nanolipoidal Systems for the Management of Skin Cancer

2020 ◽  
Vol 14 (2) ◽  
pp. 108-125
Author(s):  
Apoorva Singh ◽  
Nimisha
Keyword(s):  
Skin Cancer ◽  
Survival Rates ◽  
Cancer Therapeutics ◽  
The Body ◽  
Surgical Removal ◽  
The Novel ◽  
Skin Cancers ◽  
Recent Developments ◽  
Abnormal Cells ◽  
The Stability

: Skin cancer, among the various kinds of cancers, is a type that emerges from skin due to the growth of abnormal cells. These cells are capable of spreading and invading the other parts of the body. The occurrence of non-melanoma and melanoma, which are the major types of skin cancers, has increased over the past decades. Exposure to ultraviolet radiations (UV) is the main associative cause of skin cancer. UV exposure can inactivate tumor suppressor genes while activating various oncogenes. The conventional techniques like surgical removal, chemotherapy and radiation therapy lack the potential for targeting cancer cells and harm the normal cells. However, the novel therapeutics show promising improvements in the effectiveness of treatment, survival rates and better quality of life for patients. Different methodologies are involved in the skin cancer therapeutics for delivering the active ingredients to the target sites. Nano carriers are very efficient as they have the ability to improve the stability of drugs and further enhance their penetration into the tumor cells. The recent developments and research in nanotechnology have entitled several targeting and therapeutic agents to be incorporated into nanoparticles for an enhancive treatment of skin cancer. To protect the research works in the field of nanolipoidal systems various patents have been introduced. Some of the patents acknowledge responsive liposomes for specific targeting, nanocarriers for the delivery or co-delivery of chemotherapeutics, nucleic acids as well as photosensitizers. Further recent patents on the novel delivery systems have also been included here.

Distributed Creativity

2017 ◽  
Keyword(s):  
Contemporary Music ◽  
Division Of Labour ◽  
Conceptual Frameworks ◽  
Creative Processes ◽  
Distinctive Features ◽  
Concert Music ◽  
Collaborative Creativity ◽  
Collaborative Working ◽  
Working Practices ◽  
And Performance

Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers—despite the sharp division of labour between these roles that traditional concert culture often presents. Two distinctive features of contemporary music are the greater incorporation of improvisation and the development of integrated and collaborative working practices between composers and performers. By blurring the distinction between composition and performance, improvisation and collaboration provide important perspectives on the distributed creative processes that play a central role in much contemporary concert music. This volume explores how collaboration and improvisation enable and constrain these creative processes. Organized into three parts, thirteen chapters and twelve shorter Interventions present diverse perspectives on distributed and collaborative creativity in music, on a range of collaborations between composers and performers, and on the place of improvisation within contemporary music, broadly defined. The thirteen chapters provide more substantial discussions of a variety of conceptual frameworks and particular projects, while the twelve Interventions provide more informal contributions from a variety of practitioners (composers, performers, improvisers), giving direct insights into the pleasures and problems of working creatively in music in collaborative and improvised ways.

Making Up 3D Bodies

2021 ◽  
Vol 4 (2) ◽  
pp. 1-9
Author(s):  
Kiona Hagen Niehaus ◽  
Rebecca Fiebrink
Keyword(s):  
Software Tool ◽  
The Body ◽  
Design Parameters ◽  
Artistic Practice ◽  
Human Form ◽  
Modeling Systems ◽  
Exploratory Approach ◽  
Disability Status ◽  
High Level ◽  
The Impact

This paper describes the process of developing a software tool for digital artistic exploration of 3D human figures. Previously available software for modeling mesh-based 3D human figures restricts user output based on normative assumptions about the form that a body might take, particularly in terms of gender, race, and disability status, which are reinforced by ubiquitous use of range-limited sliders mapped to singular high-level design parameters. CreatorCustom, the software prototype created during this research, is designed to foreground an exploratory approach to modeling 3D human bodies, treating the digital body as a sculptural landscape rather than a presupposed form for rote technical representation. Building on prior research into serendipity in Human-Computer Interaction and 3D modeling systems for users at various levels of proficiency, among other areas, this research comprises two qualitative studies and investigation of the impact on the first author's artistic practice. Study 1 uses interviews and practice sessions to explore the practices of six queer artists working with the body and the language, materials, and actions they use in their practice; these then informed the design of the software tool. Study 2 investigates the usability, creativity support, and bodily implications of the software when used by thirteen artists in a workshop. These studies reveal the importance of exploration and unexpectedness in artistic practice, and a desire for experimental digital approaches to the human form.

Komponisten, Interpreten und Editoren debattieren über Notation

2019 ◽  
Vol 33 (1) ◽  
pp. 64-81
Author(s):  
Dörte Schmidt
Keyword(s):  
New York ◽  
International Association ◽  
Contemporary Music ◽  
Second Step ◽  
John Cage ◽  
Musical Structure ◽  
New Developments ◽  
The Relationship

Abstract The article discusses how new developments in the notation of contemporary music were negotiated within the framework of the Darmstadt Summer Courses and which interests and actors played a role in this. The first part examines the publications and publication projects that emerged in the context of the Notation conference in 1964. The focus is on the interests of institutions such as the International Music Council and the International Association of Music Libraries, in whose name the New York publisher Kurt Stone attempted to persuade the International Music Institute Darmstadt to cooperate and, following on from the debates there, to systematically record various forms of notation together. In a second step, the content of the debates at the conference is examined, with a particular focus on the different and sometimes conflicting perspectives of interpreters and composers. Numerous connections to fundamental aesthetic discussions of the time can be worked out, in particular to the relationship between the composer’s intention and interpretation, which was renegotiated in a form of notation that was individualized to the extreme. Finally, with a view to later discussions, this topic is pointed to the question of the relationship between morphology and musical structure, exemplified by positions of Wolfgang Rihm (1982), Klaus Huber (1988) and John Cage (1990).

The Fiery Pacific: Volcanic Eruptions and Settler-State Theatricality in Oceania, 1780–1900

2014 ◽  
Vol 55 (3) ◽  
pp. 362-392
Author(s):  
Diana Looser
Keyword(s):  
Seventeenth Century ◽  
Performance Studies ◽  
Art History ◽  
Volcanic Eruptions ◽  
The Body ◽  
Red Color ◽  
Form Part ◽  
And Performance ◽  
Grand Opera ◽  
The City

In the closing scene of René-Charles Guilbert de Pixérécourt's melodramaLa Tête de mort; ou, Les Ruines de Pompeïa(1827), audiences at Paris's Théâtre de la Gaîté were presented with the spectacular cataclysm of an erupting Mount Vesuvius that invaded the city and engulfed the hapless characters in its fiery embrace. “The theatre,” Pixérécourt writes, “is completely inundated by this sea of bitumen and lava. A shower of blazing and transparent stones and red ash falls on all sides…. The red color with which everything is struck, the terrible noise of the volcano, the screaming, the agitation and despair of the characters … all combine to form this terrible convulsion of nature, a horrible picture, and altogether worthy of being compared to Hell.” A few years later, in 1830, Daniel Auber's grand operaLa Muette de Portici(1828), which yoked a seventeenth-century eruption of Vesuvius with a popular revolt against Spanish rule in Naples, opened at the Théâtre de Monnaie in Brussels. The Belgian spectators, inspired by the opera's revolutionary sentiments, poured out into the streets and seized their country's independence from the Dutch. These two famous examples, which form part of a long genealogy of representing volcanic eruptions through various artistic means, highlight not only the compelling, immersive spectacle of nature in extremis but also the ability of stage scenery to intervene materially in the narrative action and assimilate affective and political meanings. As these two examples also indicate, however, the body of scholarship in literary studies, art history, and theatre and performance studies that attends to the mechanical strategies and symbolic purchase of volcanic representations has tended to focus mainly on Europe; more research remains to be undertaken into how volcanic spectacles have engaged with non-European topographies and sociopolitical dynamics and how this wider view might illuminate our understanding of theatre's social roles.

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