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Figure 2. Still of Read me (2015) in the version for Alina Murzakhanova. The onlooker comes closer, more layers of text, music and image appear. Image © TransCoding.

Figure 2 Still of Read me (2015) in the version for Alina Murzakhanova. The onlooker comes closer, more layers of text, music and image appear. Image © TransCoding.

Related Figures (6)

Figure 1. Still of Read me (2015) in the version for Alina Murzakhanova. The onlooker is far away. Image € TransCoding. The basic artistic concept of the installation is as follows: Often our first impression of a person leads us to believe that we can grasp who that person is. It seems clear and obvious. But the closer we get to them, the more and more complex aspects of this person come to light. The idea was to mirror this experience in the installation. The proximity or distance of a viewer to the installation represents the closeness of the relationship one has with a person. It is measured via an ultrasonic sensor and translated into audio and text projection via an Open Frameworks- software patch and an Arduino. The further away a viewer is, the more unambiguous the material becomes (at the furthest limit, only one part of the soundtrack can be heard, one sentence can be seen on the projection, and the underlying image of the person shimmers through). It corresponds to our first impression when we get to know someone, that we think we understand that person immediately, even if we do not yet see them clearly. through). It corresponds to our first impression when we get to know someone, that we think sentence can be seen on the projection, and the underlying image of the person shimmers
Figure 1. Still of Read me (2015) in the version for Alina Murzakhanova. The onlooker is far away. Image € TransCoding. The basic artistic concept of the installation is as follows: Often our first impression of a person leads us to believe that we can grasp who that person is. It seems clear and obvious. But the closer we get to them, the more and more complex aspects of this person come to light. The idea was to mirror this experience in the installation. The proximity or distance of a viewer to the installation represents the closeness of the relationship one has with a person. It is measured via an ultrasonic sensor and translated into audio and text projection via an Open Frameworks- software patch and an Arduino. The further away a viewer is, the more unambiguous the material becomes (at the furthest limit, only one part of the soundtrack can be heard, one sentence can be seen on the projection, and the underlying image of the person shimmers through). It corresponds to our first impression when we get to know someone, that we think we understand that person immediately, even if we do not yet see them clearly. through). It corresponds to our first impression when we get to know someone, that we think sentence can be seen on the projection, and the underlying image of the person shimmers
Figure 3. Still of Read me (2015) in the version for Alina Murzakhanova. The onlooker is very close, all layers of music, image and text are perceived. Image © TransCoding. Figure 3. Still of Read me (2015) in the version for Alina Murzakhanova. The onlooker is very close, all layers of
Figure 3. Still of Read me (2015) in the version for Alina Murzakhanova. The onlooker is very close, all layers of music, image and text are perceived. Image © TransCoding. Figure 3. Still of Read me (2015) in the version for Alina Murzakhanova. The onlooker is very close, all layers of
Figure 4. Read me exhibited during the Austrian Long Night of Research 2016 at the University of Music and Performing Arts, Graz. The audience member is close to the sensors, many layers of image are revealed. Image © TransCoding. ‘igure 4. Read me exhibited during the Austrian Long Night of Research 2016 at the University of Music and
Figure 4. Read me exhibited during the Austrian Long Night of Research 2016 at the University of Music and Performing Arts, Graz. The audience member is close to the sensors, many layers of image are revealed. Image © TransCoding. ‘igure 4. Read me exhibited during the Austrian Long Night of Research 2016 at the University of Music and
Figure 5. Barbara Liineburg performing Louis Aguirre’s Toque a Eshu i Ochosi for singing violinist. Photo: Maximilian Pramatarov. In our research we take Western classical instrumental practice as a starting point, incorporate
Figure 5. Barbara Liineburg performing Louis Aguirre’s Toque a Eshu i Ochosi for singing violinist. Photo: Maximilian Pramatarov. In our research we take Western classical instrumental practice as a starting point, incorporate
Figure 6. Barbara Ltineburg re-enacting Sergej Khachatryan. Photo: Reinhard Winkler. emphasizes the epistemic dimension of practice.’*° It is important to distinguish that “Re-enacting Embodiment’ in this method does not mean to recreate historical situations as done in historical interpretation research,** nor is it an act of acting in which a performer would try to ‘become’ soloist XY. “Re-enacting Embodiment’ is about precisely recreating the musical and physical interpretation, i.e., the “embodied techniques’ of another person with a focus on the experience the re-enactment evokes in oneself, skills that can be learned, and insights that can be drawn from it. The concept o “embodied techniques’ ‘differs from related concepts like performativity and habitus in that i emphasizes the epistemic dimension of practice.’*°
Figure 6. Barbara Ltineburg re-enacting Sergej Khachatryan. Photo: Reinhard Winkler. emphasizes the epistemic dimension of practice.’*° It is important to distinguish that “Re-enacting Embodiment’ in this method does not mean to recreate historical situations as done in historical interpretation research,** nor is it an act of acting in which a performer would try to ‘become’ soloist XY. “Re-enacting Embodiment’ is about precisely recreating the musical and physical interpretation, i.e., the “embodied techniques’ of another person with a focus on the experience the re-enactment evokes in oneself, skills that can be learned, and insights that can be drawn from it. The concept o “embodied techniques’ ‘differs from related concepts like performativity and habitus in that i emphasizes the epistemic dimension of practice.’*°
Figure 7. Barbara Ltineburg re-enacting Maria Duefias. Photo: Reinhard Winkler. into the intertwining of musical interpretation and embodiment. The instrumentalist-researchet is in a position to assess from an inner perspective what other performers do with their bodies when they express themselves and how this relates to and creates gender and charisma. By systematically addressing issues of embodiment in comparison or possibly even confrontation with the physicality of other performers, instrumentalists simultaneously expand their personal repertoire of embodiment techniques, develop an awareness of value systems in theit performance and critically question their long-standing individual routines and _ artistic practices. This method is inconceivable without the first-person perspective. It addresses the challenges involved by gaining distance through analysis and evaluation based on grounded theory, where this is necessary and helpful, for example, to counterbalance subjectivity. At the same time, we use the different interdisciplinary perspectives of the team members to balance the personal or subjective aspects of each artistic researcher's work and experience and to collectively enrich the analysis and evaluation of the collected data. performance and critically question their long-standing individual routines and artistic
Figure 7. Barbara Ltineburg re-enacting Maria Duefias. Photo: Reinhard Winkler. into the intertwining of musical interpretation and embodiment. The instrumentalist-researchet is in a position to assess from an inner perspective what other performers do with their bodies when they express themselves and how this relates to and creates gender and charisma. By systematically addressing issues of embodiment in comparison or possibly even confrontation with the physicality of other performers, instrumentalists simultaneously expand their personal repertoire of embodiment techniques, develop an awareness of value systems in theit performance and critically question their long-standing individual routines and _ artistic practices. This method is inconceivable without the first-person perspective. It addresses the challenges involved by gaining distance through analysis and evaluation based on grounded theory, where this is necessary and helpful, for example, to counterbalance subjectivity. At the same time, we use the different interdisciplinary perspectives of the team members to balance the personal or subjective aspects of each artistic researcher's work and experience and to collectively enrich the analysis and evaluation of the collected data. performance and critically question their long-standing individual routines and artistic
Related topics:
Practice as ResearchPerformance Practice (Music)Methodologies for Artistic Research
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