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

 

 

 



 


Key Note speakers



Prof. Trinh Minh-ha


The Song and the Sap (The Politics of Forms and Forces)
Power relations lay at the core of normative representations. In the tuning in with the forces of a life event, one can say that form is attained only to address the formless. Reality in its social and historical dimension is not a material for artistic reflection or political commitment; it is what powerfully draws one to creative work and yet cannot be captured without dissolving itself in its fragile essence when one approaches it without subtlety and vulnerability.

Trinh Minh-ha is professor of Gender & Women's Studies and of Rhetoric at the University of California Berkeley. Originally trained as a musical composer, who received her two masters and Ph.D. from University of Illinois, Champaign-Urbana, Trinh T. Minh-ha is a world-renowned independent filmmaker and feminist, postcolonial theorist. She teaches courses that focus on cultural politics, contemporary critical theory, and the arts. She has also taught at Harvard, Smith, Cornell, San Francisco State University, the University of Illinois, Ochanomizu University and Ritsumeikan University in Japan, and the National Conservatory of Music in Senegal. Aside from the eleven books she has published, her work also includes three large-scale multimedia installations and seven feature-length films that have been honored in forty five retrospectives around the world: Reassemblage (1982), Naked Spaces (1985), Surname Viet Given Name Nam (1989), Shoot for the Contents (1991), A Tale of Love (1996), The Fourth Dimension (2001), and Night Passage (2004).



Prof. Dr. Marc Leman

Prof. Dr. Marc Leman (1958) holds a PhD in Musicology from Ghent University. He is a research professor in systematic musicology and head of the Art, Music and Theatre Studies Department, and Director of UGent-IPEM. He has a record of more than 150 publications in the field of systematic music research (journals: Music Perception, Science, Journal of New Music Research; books: Springer, MIT Press). In 2007 he published a book on Embodied Music Cognition and Mediation Technologies with MIT Press. He was heavily involved in writing a European roadmap for Music and Sound Computing (S2S2, 2007). He won the Methusalemproject prize from the Flemish Government for his project on musical embodiment.
His research focus is on how people engage with music in different signification practices and in particular, how people move to music and what this contributes to experience. He is a pioneer in the areas of epistemological and methodological foundations of (social) embodied music cognition, with implications to cognitive ergonomy for music applications, the development of social music interaction concepts and studies of user
feedback.



Dr. Leena Rouhiainen

Dr. Leena Rouhiainen works as professor in artistic research and is the head of the Performing Arts Research Centre at the Theatre Academy (TeaK) of the University of the Arts Helsinki (Uniarts). Until the end of 2015 she likewise is vice dean of research at TeaK as well as a member of the steering group for research and doctoral studies of Uniarts. She is a dancer and dance scholar. Together with her artistic collaborators, she has received several national awards for their artistic work in Finland. After submitting her phenomenologically oriented doctoral dissertation on freelance dance artists (2003), she has been awarded funding for several research projects by the Academy of Finland. She has edited books and published articles related to phenomenology, artistic research, somatics and dance. She acts in the editorial boards of Nordic Journal of Dance, Journal of Dance and Somatic Practices and Dance Research Aotearoa. She has been the opponent and examiner of doctoral dissertations in Finland as well as assessed applications for artistic research funding, academic positions and new educational programs in the Nordic countries. She has been the chair and vice-chair of the board of Nordic Forum for Research in Dance (NOFOD). She held the position of associate professor in dance and physical education at the Norwegian School of Sport Sciences in Oslo for the spring-term 2009. Her latest publications include Dance Spaces: Practices of Movement (University Press of Southern Denmark, 2012) co-edited together with Associate Professor Susanne Ravn. Academy in Helsinki.



Bertha Bermúdez Pascual

Migrating Gestures
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.

Bertha Bermúdez Pascual was a dancer in some of Europe’s leading dance companies, Frankfurt Ballet, Compañia Nacional de Danza in Madrid and Emio Greco | PC. In 2005 she stopped performing and started working for Emio Greco | PC transmitting their work and doing research around dance notation. Having turned towards research work, Bermudez has coordinated the interdisciplinary research projects; (Capturing) Intention and Inside Movement Knowledge both focusing on new modes of notating, documenting and transmitting dance. Between 2007 and 2011. Bermúdez became an associate researcher at the Art Practice and Development research group, headed by Marijke Hoogenboom. Since 2009 Bermúdez coordinated the Academy pillar of The International Choreographic Arts Centre in Amsterdam (ICK), which encloses all research and exchange projects of the centre. The ICK is a platform for contemporary dance under the direction of Emio Greco and Pieter C. Scholten. At this moment she is coordinating the research project Pre-choreographic Elements and the development of the Performance Documentation Model. Since 2011 Bermudez initiated a PhD on Digital Media at Universidade Nuova of Lisbon, under the guidance of Carla Fernandes.



Sally Jane Norman

Situated knowledges and celebrations of difference
Donna Haraway’s defense of “situated knowledges” (1988) offers a framework for trying to understand how art can move so many of us, despite and because of its fiercely idiosyncratic qualities. Live performance, which is uniquely situated as an embodied, physically instantiated art form, is a specific kind of stronghold of “situated knowledge”. Acts of performance, like the places their expression requires, must be demarcated from everyday situations, to allow the celebration of difference which distinguishes aesthetic experience.

Professor of Performance Technologies, Sally Jane has ensured strategic development of the Attenborough Centre at the University of Sussex while teaching on the Music MA and supervising an interdisciplinary doctoral cohort. From 2015 she will be co-investigator of the new Sussex Humanities Lab. A dual national (Aotearoa-New Zealand/ France) with a Doctorat d'Etat and Doctorat de 3è cycle (Institut d’études théâtrales, Paris III), her academic and cultural policy papers are informed by a range of leadership and research roles, and by practical engagement with performance technologies. During her artistic co-direction of the Studio for Electro-Instrumental Music, Amsterdam (1998-2000), she co-organised STEIM’s Touch Festival with Michel Waisvisz and Joel Ryan. Sally Jane serves regularly on national and international research and cultural policy advisory boards, and is a strong supporter of Telefonica Foundation’s Vida Art and Artificial Life competition (founding jury member in 1999). From 2004-09, she was founding Director of Culture Lab, Newcastle University’s interdisciplinary digital hub, and has since collaborated on Bennett Hogg’s ‘Music and Machines’ research programme.

 






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

Participation


Organization