Artexégesis: Revista de prácticas artísticas e investigación

Lugares, materiales y procesos artísticos interdisciplinares

Diego Castro Magas — 2024-10-10

No presenta resumen

Four Confluences

Adriana Salazar — 2024-10-10

From water as materiality and metaphor, I seek to bring together certain reflections and experiences around artistic research. I will refer to a project called Museo Animista del Lago de Texcoco to address the way in which the bodies that inhabit the metropolitan region of Mexico City, as are the artifacts belonging to this project (a series of fragments of the lake floor, moved by epistemic-artistic operations), are interpellated and animated by water in a deep sense. I will channel these reflections through the course of a specific socio-environmental conflict, situated in my own body and located in the struggles for water and land in the basin of Mexico. From here I will introduce my own place of enunciation, address the movements that make up the aqueous character of this research and point out the links between some bodies and others, while I fabricate a water cartography of the territory I inhabit. All this will also be a trigger to talk about the powers of artistic research and how it can open the door to other possible ways of knowing that are plentiful and generous, like rivers: an episteme that integrates doing, feeling, living and thinking in the same torrent.

Research notebook. Reflections concerning practice as reasearch in musical composition

Juan Sebastián Lach Lau — 2024-10-10

The present text proposes to articulate some reflections regarding artistic research that are central to practitioners working with music, particularly composition. To relate approaches, problems, and possibilities, we will elaborate on the trajectory and experiences in composition and teaching. Specifically surrounding pieces that deal with mathematical structures and pedagogy around the notion of situated creativity. Besides providing an account of research and music-making, this article serves as a framework for creating a reflective space that moves beyond the anecdotal and the subjective. In this way, we describe an epistemic approach regarding the production of artistic and discursive products that combines not only the outcome but also the elements along the practice: sketches, entries in practice notebooks, and other intermediate materials generated during the creative process of musical composition. The purpose of the following article is to construct a situated constellation which emphasizes the relevance of certain materials and objects that usually do not play a significant role in the creative outcome/process.

Sculpting Sound: Theoretical and Practical Considerations for Designing and Building Sound Installations

2024-10-10

The use of prepared musical instruments, or what I conceptually refer to as impossible musical objects, for composing music, is not a new phenomenon. In this article, I discuss the theoretical and practical considerations for designing and building modified instruments. I examine my past experiences and existing creative research practices and methods. My goal is to expand the concept of impossible musical objects by transitioning to a sculptural approach to musical composition. This approach will involve recontextualizing these objects as sound sculptures within complex structures, specifically sound installations. To produce modified musical instruments and transition to a broader approach where these objects are reimagined as constituent parts within sound installations and where the performance space has also been transformed, it is essential to understand their mechanics. Therefore, collaborating with musicians, luthiers, and instrument makers in the form of experimentation and test sessions becomes a fundamental part of the creative process. During these sessions, the effectiveness, practicality, portability, and invasiveness of the objects were evaluated. The results of these evaluations have been cataloged. In this article, I will include some examples and discuss their implications for current and future creative projects.

The Double Verification Artistic-Reflexive Cycle {CARDC) and the Music software: a methodological tool in the field of Artistic Research and its application

Leonardo Vieira Feichas — 2024-10-10

The present article introduces the methodological tool called "Ciclo Artístico-Reflexivo de Double Checking (CARDC)" (Feichas, 2022) and the ongoing project to develop an application called "Music". The project involves information technology and artificial intelligence and is a partnership between the Federal University of Acre (UFAC) and the Technological lnstitute of Aeronautics (ITA), which intends to propose the application of the CARDC methodology in a more practical and accessible way. The development of this project is based on the theoretical/philosophical orientations of the CARDC concept, which have been transferred to the software through the codification of this concept in music. To conclude, we provide preliminary results regarding the use of the application on mobile devices and discuss the use of CARDC and the factors observad when it was used through a dedicated application. Based on field research findings, it is evident that a demand exists, that the idea of the application satisfies this need, and that the development of common studies in artistic research areas, such as music, is urgent.

What to say, how to say, where to say, about writing around the poetic-sound collaboration with Pía Sommer.

Federico Eisner — 2024-10-10

This text/sound performance aims to discuss writing problems that arise in the context of Artistic Research, concerning one’s sound production, and based on two electroacoustic interventions on sound poems by the Chilean artist Pía Sommer and a performative collaboration with her. By presenting these examples, along with the different reflexions that come along the process, I seek to showcase the achievements and obstacles of writing regarding these particular cases. The aforementioned writing problems forcefully emerged - sometimes as a paralyzing power - during my doctoral research. Faced with an (auto)ethnographic confusion, the (false) binary work/thesis, and the impossibility of a minimal critical distance, the triad of questions that titled this paper became coordinates of a writing journey in a methodological constellation where it was simple to get lost. The purpose of this text is to describe the results of that straving.

Ddüwéwé: Cartography for a Synesthetic Invasion

2024-10-10

This article describes one of my recent projects developed in the context of my PhD in Music at the University of Huddersfield, UK. Ddüwéwé is a Mapudungun word that means ‘the warp, the thread with which weaves’ (Alonqueo Piutrín, 2018, p. 74) and is the title of a collaborative initiative involving music composition, visual installation, and theatrical performance, addressing some aspects of the Mapuche people: one of the First Nation in southern Chile and Argentina. Starting from two Mapuche ritual objects that embody its worldviews, the project developed interdisciplinary interpretations of my observations on the experience of inhabiting the performative spaces involved: the Richard Steinitz Building at the University of Huddersfield (UK) and the Theatre of the Parque Cultural de Valparaíso (Chile). By observing these spaces, I was able to reveal what the inhabitant does inside, or in other words, what are the acts that define the inhabitant’s experience: an action of approaching by watching and walking. Furthermore, a collaborative exchange with other practitioners allowed the conception of a spatial and visual installation and the dramaturgical construction of the project. The experience offers new projections about essential elements and complementary aspects as factors of hierarchy in interdisciplinary proposals.

Aos olhos da areia: applying declassification strategies in music performance practice

Bragagnolo Bragagnolo — 2024-10-10

This article aims to present the practical application of three declassification strategies applied in musical performance, which consists of the results of the artistic research entitled Aos olhos da areia, as part of the research project "Experimentation, performance and creation: declassifying musical performance", using the concept of cartography as a methodological approach. To this end, we present the concepts of classification and declassification based on Gutiérrez (2009, 2018, 2020), and some of their implications in the musical field. This is followed by the development of a paraconsistent logic based on the use of oxymorons, polysemy and the de-monumentalization of written and archival knowledge as declassification strategies. These three strategies result in practical elements applied to the artistic object Aos olhos da areia 2.1, which are exposed, culminating in the questioning of the relevance of maintaining the idea of musical work as a guiding concept and the proposition of the notion of artistic traces. Finally, a new version of Aos olhos da areia is presented in the light of the discussions undertaken in this paper.

Biografías

Equipo Artexégesis — 2024-10-10

No presenta resumenes