Vodou vibrations sounds of memories of fields and burdens living in translations and broken bows balancing on plateaus while speaking to one self and scratching the surface of the raft while drifting away

Tacit or Loud: where is the knowledge in art?
Symposium and festival for artistic research
Nov 16-Dec 3

Dec 2
Gesture, Action and Reaction

Inter Arts Center

Keynote: Migrating Gestures
Red Room

Embodied presence and electro-acoustic soundperformance: Voices-of-no(i)sense
Red Room

Inde: discussion
Red Room

Immage Illiterates
Red Room

Red Room

Anticipating the Past
Red Room

Summing up
Red Room

För den som i hemlighet lyssnar
Red Room

Arrival Cities: Hanoi
White Room

Abstracts and program notes

Migrating Gestures

Bertha Bermúdez Pascual

This presentation exposes the importance of gesture and the body in digital media and human-computer interaction. I will develop ideas around intention of movement and gesture, and on the specific challenges that we encounter when working with the qualities of human gesture in interaction with digital technology.
In his article Mixed media: from digital aesthetics towards general communication theory, Klaus Bruhn Jensen (2007), defines three different degrees of media that relate to the modes in which communicative interaction occurs. The first degree addresses ‘biologically based, socially formed resources that enable humans to articulate an understanding of reality’. Verbal language is one of the main examples of this first degree of communication alongside ‘song, dance, drama, painting, and creative arts generally’. The second is ‘technically reproduced and enhanced forms of representation and interaction’ such as television, printing press, film, radio - so what it is considered mass-media are examples of this degree, where possibilities of ‘radical dissemination across space and time’ can take place. The third degree ‘digitally processed forms of representation and interaction’ brings together the previous first and second degrees. Following the statement of Jensen (2007) that ‘new–media studies need perspectives gazing through the interface in both directions-into machines and humans in context’, this presentation will expose possible relationships between; new media and the increasing role of gesture oriented interfaces, while opening ideas about the influence of intentional aspects of movement and gesture for the creation of artistic works.

Embodied presence and electro-acoustic
soundperformance: Voices-of-no(i)sense

Margarethe Maierhofer-Lischka & Flora Könemann

We create situations that confront us and our audience with different layers of experience: Leaving the traditional “concert stage setting”, we use the actual room and its acoustics to create a performative space with its own poetics. Moving in mazes of everyday objects, instruments and tools, we create trails of bodily action and sound that leave a connecting trace of actual experience for both the listener_viewers as well as for the performers.
Our performance explores how liveness and mediatization are placed and performed in order to create ‘spaces of experience’ or even ‘auratic atmospheres’ (in terms of perception as an auratic process). Considering sound improvisation as a process of awareness and perception rather than
a product of technique and tools, we contribute to an artistic practice that discusses the embodied presence of the performer, experimental/improvised sound, use of voice, collaborative processes and materiality (resonating / amplified objects) as well as curiosity and playfulness as central focal points, moving beyond the formal practice of composition. Doing so, we also redefine traditional notions of the “musical instrument”, seeing an instrument not only as object, but as a performative interaction between certain tools, ways-of-doing, and psychophysical disposition of the performers and audiences. The theoretical and aesthetical background we draw on is combining concepts of artistic hacking, holistic body theories (such as realized in Alexander Technique and Yoga), aspects of media art and installation, as well as musical improvisation/ spontaneous composition as “social art” (Reinhard Gagel). The instruments we use are (handmade/circuit-bended) electronic circuits, tape players, acoustical instruments, amplified household objects, our bodies, the space we live in.

Discussion of Inde
Fabio Monni / Malin Astner

Can space be scaled by sound and body? How can the experienced space differ? How the body and the synchronized/desynchronized sound impulses reshape the stage of the performance?
The music composition is based on a six channels pink noise fast impulses, which interact with the dancer on three basic relations: connection – opposition – independence. The fast sound impulses create different geometries in the room (in between the speakers) and sustain and justify, by their level of synchronization, the presence of the physical performance. There is no stage and people will be free to move and explore the space of the performance, where the the audience’s perspective will be changed, from observer to observed.

Image Illiterates: The Mongrel
Henrik Frisk / Anders Elberling

This artistic research project is concerned with trying to better understand the possible means for audio-video interaction in intermedia artworks. The project subtitle – The Mongrel – refers to a hybrid between audio and video that will not fall into either of the two categories of “music with video” or “moving images with music” but attempts to stay inbetween, balancing on the constantly moving critical point where equilibrium and a new possible form may take shape.
The Western world is saturated with images. Hundred of hours of video are uploaded to YouTube every minute and more than one billion unique visitors each month watching (YouTube, 2014). We are immersed in media to a point where the discussion concerning virtual reality becomes nearly ubiqiutous. For Paul Virilio the photographic snapshot and the optical illusion of cinema are part of the “sensory deprivations we owe to the technological and industrial wastage of our perceptual capacities” (Virilio, 2005, p. 74), ironically producing what Walter Benjamin dubbed the image illiterates (as cited in Virilio, 2005, p. 38).
In our project we are interested in entering this field asking questions concerning the roles of music and video in coexistence using the critical stance of Virilio, Baudrillard and others. Our method is to approach the narrative capacity of the themes we chose as our working material in order to find a common ground on which we can develop both the music and the video. In a twisted version of the the common third (Husen, 1994) we search for a joint aspect of the theme to be the negotiator between the different elements. We will present our experimental method of deconstructing traditional processes of dealing with audio and video interaction, producing a series of etudes. In addition we will also discuss and present some of our previous works.

Frans Jacobi

SYNSMASKINEN: 7 fields of contemporary crisis

SYNSMASKINEN is based at the Bergen Academy of Art & Design, Norway as an artistic research project, organised by visual artist, professor in timebased media/performance Frans Jacobi.

SYNSMASKINEN is a new artist-group and an inquiry into 7 fields of contemporary political crisis. The project will consist of 7 artistic research projects, each exploring a certain aspect of contemporary crisis. Together these 7 visions will attempt to unfold a contemporary cosmology; a new political horizon. The project consists of 7 art-projects, each exploring a certain aspect of the contemporary crisis.


The idea of crisis seems the dominant metaphor for describing the state of contemporary societies and is often used to warn against progress and change. Crisis though, also signifies transformation, a system in crisis is on the verge of collapsing and only in this collapse the new can evolve. As the various crises – the climate crisis, the financial crisis, the culture crisis – converge, transitions evolve. It is these transitions that are to be explored through SYNSMASKINEN. How can the transformation of societies be perceived; what kind of visions can be glimpsed at the other side of crisis?


SYNSMASKINEN is an artist-group in the sense that each production is carried out in collaboration between small groups of participants. Each of the 7 projects will consist of a new group of artists and thinkers in order for SYNSMASKINEN each time to transcend into new research groups.

SYNSMASKINEN entails a double agenda: 
1: An inquiry into the seemingly permanent state of crisis: What is the meaning of crisis and what kind of drastic changes if any, hide beneath these crises? 
2: Research into collective artistic process: What kind of answers can artistic thinking conjure up? What kind of insights does artistic thinking provide? In this aspect SYNSMASKINEN is to probe into the concept of the research-group: Does a group of artists/art-thinkers display a similar creativity as the research-groups we know from scientific research? How can we collectively address the political issues of the 7 topics in a critical manner?

SYNSMASKINEN include a research monitoring device that also constitutes one of the conceptual artistic research-definitions of the project:

The inaguration of SYNSMASKINEN took place at Rom8 in Bergen in May 2014. Organised as a week-long micro-festival several aspects of SYNSMASKINEN were introduced, centered around a 3hour long remake of the play TONIGHT :-) by the famous, now extinct norwegian performance-group Baktruppen.

Anticipating the Past
Eva La Cour

This performance lecture establishes a fictive scenario through which I wish to address mediation and historization of the present-day Arctic. My concern is particularly how material-discursive narratives of the past ‘frames’ (or ‘cuts’) the ontological ‘frame’ (or condition) as forms of guided (re)discoveries.
The performance lecture pretends to take place 20 years from now. However, I will not state this future perspective as a premise of the lecture. Only when the past is addressed as ‘back in 2014’ the fiction is established as an outright lie.
More specifically, the performance lecture addresses Pyramiden - a former Swedish but now Russian settlement on the Arctic archipelago of Svalbard - by examining ideas, values and aspirations characterizing Pyramiden when regarded from a fictitious future position, 20 years from now. From this position, notions of normalization, development, protection and experimentation bear a different meaning. Svalbard is by then understood as an archipelago of local, self- sufficient, experimental communities consistent with eco-cosmopolitan notions of global or planetary sustainable citizenship. On the basis of actual artistic research and work (2013/2014) the presentation ‘looks back’ at the present state of emergency in the Arctic with a mix of romanticism, humor, criticism and absurdity.
The performance is a part of an artistic research project on the figure of the guide in the Arctic terrain, conceptualized as the open, temporal and unstable.

Summing up
Critical guest: Jordan Zlatev

“För den som i hemlighet lyssnar”
(For the one who listens in secret)
Francisca Skoogh

“Durch alle Töne tönet

Im bunten Erdentraum

Ein leiser Ton gezogen

Für den, der heimlich lauschet.”
– Friederich Schlegel

The concert is a part of my 25% seminar. It is a collaboration and experimental concert with soprano and PhD student Sara Wilén and light-designer Kristofer Langerbeck in which I use deconstruction as a method to investigate my own performance practice as pianist in a traditional Lied concert setting, in order to problematize the traditional, almost ceremonial settings of the genre. In our performance, methods and preliminary results from our research projects will be intertwined with music by Schumann and Strauss.

Arrival Cities: Hanoi

Kent Olofsson / Jörgen Dahlqvist / Ngô Trà My /
Nguyen Thanh Thuy / Stefan Östersjö /
Miguel Cortés / Marcus Råberg

Arrival Cities: Hanoi is an installation and video art project that deals with the dissolution of the relationship with tradition that urbanization brings. In May and June of 2014 The Six Tones worked with Jörgen Dahlqvist in Hanoi, making documentary recordings and interviews with people in migration zones in the city. We visited a house where street vendors stay in the night, ten women on a bamboo mat on the floor, some of them having stayed there for twenty years, returning to their home village perhaps once or twice a month. But these women are all from the same village. They take care of each other and share history. Their stories are all very different, one woman works in the streets to pay for her two children’s studies in university in Hanoi. Even if she will never become a Hanoian, her children will surely have the option. 
The Canadian journalist Doug Saunders discusses 21st century migration in his book entitled “Arrival Cities” (2010). Building on research on five continents, his book chronicles the final shift of human populations from rural to urban areas, which Saunders argues is the most important development of the 21st-century. Saunders argues that this migration creates “arrival cities,” neighbourhoods and slums on the urban margins that are linked both to villages and to core cities, and that the fate of these centres is crucial to the fortunes of nations.
Arrival Cities: Hanoi deals with the dissolution of the relationship with tradition that urbanization brings. This is the third installment in a series of experimental music theatre productions on migration entitled “Arrival Cities”. Arrival Cities: Hanoi builds a narrative from the life story of Luu Nguc Nam, an actor and costume maker in traditional Tuong theatre. In Arrival Cities, his travels in the country, the homesickness and the tension between traditions that he experiences becomes the source for a further exploration of hand gesture in Tuong theatre and an expansive portrait of a city vibrant of memories from the Vietnamese countryside.





Tacit or Loud

Festival program

– Inside/outside
– Post human computation
Arrival Cities: Hanoi
– The Fourth Dimension
– Vodou [...] 
– Il Se Tourna
Possible Worlds
– Face
– Inde
– Choreo Graphia
– Facet II
– Portraits

– Voices-of-No(i)sense
– [choreo] logy ⏐ carto [graphy]
– Reiterations of Dissent
– Body on street
– För den som i hemlighet lyssnar
– Gynoides project
– Violence and Pedagogy
– Knowing "I"?
– That’s all we shall no for truth
- Through Composition as Explanation
– Synsmaskinen

Symposium Nov 28-Dec 3
– Nov 28
– Nov 29
– Nov 30
– Dec 1
– Dec 2
– Dec 3

– Keynote speakers
– Presenters