| 1. |
- Frisk, Henrik, et al.
(författare)
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Acts of Creation : Introduction
- 2015
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Ingår i: Acts of Creation : Thoughts on artistic research supervision - Thoughts on artistic research supervision. - 9789187483165 ; , s. 7-18
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 2. |
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| 3. |
- Frisk, Henrik, 1969-
(författare)
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ArtDoc - an Experimental Archive and a Tool for Artistic Research
- 2017
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Konferensbidrag (refereegranskat)abstract
- ArtDoc is an experimental database and archive for primarilydocumentation of artistic content. It attempts to address the questionof the diculty of documenting artistic practice in a manner that makesvisible the processes in action. The background to this project is discussedand the theory behind the development of open works. ThoughArtDoc is still under construction the foundation of the archive is presented.Finally some thoughts on the future of digital documentationsystems is discussed.
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| 4. |
- Frisk, Henrik, 1969-, et al.
(författare)
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Found in translation
- 2019
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Ingår i: Seismograf (https://seismograf.org). - Köpenhamn.
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Tidskriftsartikel (refereegranskat)abstract
- This audio paper is an exploration of part of the process of making Drinking (2014) -a piece for voice, Vietnamese zither .àn tranh, and electronics. The composition is developedfrom composer William Brook’s project After Yeats in which Brooks providesan instruction describing a collaboration between a performer and a composer. AfterYeats is not itself a composition, but should rather be seen as a method with which acomposer and a performer may realize a score (Brooks 2013). At the outset the chosenpoem–A Drinking Song by William B. Yeats in a translation to Vietnamese, the nativelanguage of Nguyen Thanh Thuy–was recited, and it was the sonic trace of the readingthat was the point of departure for the composition Drinking. In this case the meaningof the words is of less signicance than the sound of the reading. After Yeats is insome ways an attempt to revive the tradition of chanting poems to a lyre accompanimentcommon in the practice of Yeats and his contemporaries. Henrik Frisk, a Swedishcomposer, takes the recording of the reading and, according to the instructions in AfterYeats,works to compose the piece according to the implications of the declamation fromNguyen’s reading. According toMarcel Cobussen, "listening also involves an opening ofthe senses that is not necessarily enfolded in conscious meaningfulness, by sense. It alsotakes place outside, before or beyond sense; it also refers to a sense that operates outside,before or beyond signication" (Cobussen 2008: p. 131). The emotional responses thatarise from engaging in artistic practice operate in similar ways to how Cobussen situateslistening in a space beyond signication. They may be communicated and sometimesbrought to the fore, but they always have a tendency to appear mysterious, arcane andephemeral. The inuence by the many diferent kinds of agents that may be found inBrooks’ meta-composition makes the creative process daunting to understand but is alsowrapped around the idea of what is to be found outside, before and beyond.
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| 5. |
- Frisk, Henrik, 1969-
(författare)
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Hell is full of musical amateurs, but so is heaven
- 2017
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Ingår i: Seismograf. - Köpenhamn : Seismograf/DMT. - 2245-4705.
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Tidskriftsartikel (refereegranskat)abstract
- Today, whenwe think of musical performance inWestern art music, it is easy to takefor granted the division of labor between, for example, musician and composer. However,music has obviously been produced for many thousands of years without therebeing a need to compose and write it down before playing it. Most genres of music havesustained and developed without this split between creator and performer. In genreswhere improvisation play an important role the musician sometimes embodies both thecreative act and the interpretative–simultaneously. In musics built on aural traditionsthe composed component is integrally bound to the musician. However, as advancedand standardized technologies for systematic notation of music were developed in Europethe role of the musician slowly began to evolve into two, often separate parts: onepart primarily responsible for the construction of music (composer), and one part primarilyresponsible for the performance of it (musician). There is no doubt that compositionand notation are extraordinarily ecient means to structure, communicate andpreserve musical ideas and it is fair to assume that the development that led to the divisionof labor loosely sketched here participated in the advancement ofWestern musicinto new aesthetic areas.
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| 6. |
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| 7. |
- Johansson, Karin, et al.
(författare)
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Towards a shared image. Supervision in artistic research as acts of collaborative knowledge creation
- 2015
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Ingår i: Acts of creation. Thoughts on artistic research supervision. - 9789187483165 ; , s. 73-89
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Bokkapitel (refereegranskat)abstract
- This chapter departs from the question: How can the supervision of artistic research in music influence and promote agency for PhD candidates? Supervision is seen in the context of on-going institutional change and discussed as encompassing the following aspects: (i) making the candidate pass, (ii) conducting artistic collaborations, (iii) evaluating artistic development and quality, and (iv) creating a safety zone. It is suggested that supervision can be a dynamic meeting point for the combination of these aspects and result in collaborative knowledge creation. This is a long-term, collective process that both requires and results in individual growth, group development and a continuous rethinking of institutional self-image.
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| 8. |
- Lindberg-Sand, Åsa, et al.
(författare)
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Contextual and conceptual ambiguities in supervision of artistic research : experiences from Konstnärliga forskarskolan
- 2015
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Ingår i: Acts of Creation : thoughts on artistic research supervision. - 9789187483165 ; , s. 189-220
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Bokkapitel (refereegranskat)abstract
- To accept the nomination to become the supervisor of a PhD candidate is not only to step into a specific, challenging and potentially rewarding relationship, but also to enter a new zone of uncertainty: what kind of contribution to this relationship is expected from me? In what ways is this new professional task framed and supported by the institutional context to which I belong? What do I gain from becoming a supervisor? In this chapter we draw together our experiences of spending many hundreds of hours listening to and discussing with supervisors of PhD candidates from a wide variety of research domains. We use our experiences from ten years of arranging pedagogical support for supervisors in the form of courses and seminars, and use what we have learned in these meeting places as material to describe how we perceive the cultural and contextual conditions for supervising PhD candidates both in general and in the emerging field of artistic research. The aim is therefore not to describe or evaluate our pedagogical efforts, but to use what we have encountered and reflected on in seminars with supervisors over the years. Another aim is to shed some light on the cultural and contextual conditions for supervising artistic research by comparing and contrasting the situation of the supervisors in this relatively new field with the situation in other fields of research. A more personal aim is to try to disentangle some of the persistent puzzlement that followed us through the years with Konstnärliga forskarskolan (KFS). Why was it that over and over again we were troubled by a feeling that the supervisors, compared to our expectations, were not regarded as being crucially important for the development of artistic research?In this chapter we will first discuss the importance of supervisors for doctoral education and for the regeneration and development of research, both in general and for new fields, with continuous references to artistic research, as it was mirrored to us through KFS. We will then continue along a road where we look at a number of contextual conditions (such as the learning trajectories of artists) and practiced concepts (such as interdisciplinarity and practice-based research), where we have experienced intriguing differences in artistic research when compared to other research environments. Finally, we offer two scenarios staging the institutional and cultural conditions for supervising artistic research in two quite different ways. They are constructed as ideal types and as a tool to disentangle some of the ambiguities supervisors have to face in the real settings where they meet their PhD candidates, and where everything is mixed up, as in life itself. Finally, we end our chapter by pointing out a ghost scenario, which we hope will disappear with the continued development of artistic research.
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| 9. |
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| 10. |
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Machinic Propositions
- 2018
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Konstnärligt arbete (refereegranskat)abstract
- Machinic propositions is an artistic project and an attempt tocritically examine Deleuze and Guattari's theorems ofdeterritorialization as found in chapter seven and ten of their seminalbook A Thousand Plateaus (Deleuze & Guattari, 1980).The artistic method is one where conceptual deduction and improvisationplay central roles. It has grown out of our thinking about contemporarymedia and our attempts to critically examine both our own pro-technicalapproach and the hyper media-landscape we live in. This method wasdeveloped based on our artistic ideas, the needs of the projects weengage in and the conditions of our respective practices. At the core ofour work lies the attempt to deconstruct the relationship between soundand image. Our work process is slow, and the work on the present projectbegan in 2016 and is likely to continue in the future.There are interesting parallels between the way we work, and the ideaput forward by Deleuze of style as the ability to "stammer in one's ownlanguage". Our working process is situated in the attempt to stutter in"language" while avoiding it in "speech".The modes of synchronization that have become central to our works willbe further explored through the modes of thinking relating to thetheorems introduced by D\&G. There are however, many points ofentry. The systems of de/re-territorialization in this context areinterpreted as attempts to detach both sound and image from their highlydefined modes of engagement. Not in order for them to merge into one,but to become what may be described as the opposite of a couple.
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