Academic literature on the topic 'PERFORMATIVE RESEARC'
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Journal articles on the topic "PERFORMATIVE RESEARC"
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Moiseeva, Anna. "THE ROLE OF THE CONCEPT OF PERFORMATIVITY IN THE CONTEXT OF INDIRECT COMMUNICATION RESEARCH." Respublica literaria, RL. 2021. vol.2. no. 1 (March 29, 2021): 48–61. http://dx.doi.org/10.47850/rl.2021.2.1.48-61.
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The article traces one of the lines of influence of the analytic philosophy of language on the humanities, in particular, on linguistics – the line that is associated with the perception of the concept of performativity and the corresponding view of language in studies of indirect communication. The distinction between illocutionary and perlocutionary speech act formulated by J. Austin is applied to the case of indirect communication, as a result of which it is concluded that the performative properties of language can manifest themselves not only in illocution, but also in perlocution. It is shown that many examples of indirect communication function like performatives – the concept of an indirect performative is introduced to denote them – and can be described from the point of view of a performative approach.
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Fernandes, Ciane, Líria De Araújo Morais, Melina Scialom, and Alba Pedreira Vieira. "Imersão Cristal: Princípios, recorrências e reverberações." ouvirOUver 13, no. 1 (2017): 48. http://dx.doi.org/10.14393/ouv20-v13n1a2017-4.
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O artigo resulta de mesa apresentada no IX Congresso da ABRACE na Universidade Federal de Uberlândia, em novembro de 2016, em que integrantes do Coletivo A-FETO compartilharam e teceram considerações sobre suas vivências na obra Cristal (MAC-SP, junho de 2016). Cristal é uma Imersão somático-performativa com participação do público, que acontece a partir de Padrões de Crescimento, de Mudança ou Padrões Cristal. Este princípio composicional da Abordagem Somático-Performativa foi inspirado na mutabilidade inerente às formas cristalinas das teorias de Rudolf Laban. Coerente com essa perspectiva em crescimento inerente ao próprio movimento criativo, a obra é uma instalação-performance que inclui dança, escrita, projeções, paisagem sonora em tempo real, e que aconteceu durante os dias da exposição Vesica Piscis (sob curadoria de Maria Mommensohn), como uma obra de tempo continuado. O público não foi apenas um visitante, mas também trouxe suas contribuições cristal. Do mesmo modo, as reflexões aqui apresentadas contribuem para desdobramentos e sistematizações performativas e integradas, conectando vivências pessoais e coletivas, criação e(m) pesquisa.
 
 ABSTRACT
 The article results of a roundtable presented at the IX ABRACE Congress at Federal University of Uberlândia, in November 2016, in which members of the Collective A-FETO shared and developed considerations regarding their experience in Cristal (MAC-SP, June 2016). Cristal is a somatic-performative merger with audience participation that is based on Growth Patterns, Change Patterns or Crystal Patterns. This compositional principle of the Somatic-Performative Approach was inspired on the inherent mutability of the crystal forms of Rudolf von Laban’s theories. Coherent with this growing perspective – which is also inherent to creative movement -, the piece is a performance-installation that includes dance, writing, projection, soundscape in real time, and that happened during the days of the exhibition Vesica Piscis (curated by Maria Mommensohn) as a continuous durational piece. The audience is not only a visitor to the installation, but they can also bring their own crystal contributions. In the same way, the current reflections presented here contribute to performative and integrative unfolding and systematizations, connecting personal and collective experience, creative processes and/in research. 
 
 
 KEYWORDS
 Merger, Somatic-performative approach, Crystal patterns, performance-installation.
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Pérez Antúnez, Cynthia Jeannette. "Reflexiones sobre la epistemología dancística desde el baile flamenco." Investigación Teatral. Revista de artes escénicas y performatividad 13, no. 21 (2022): 156–68. http://dx.doi.org/10.25009/it.v13i21.2705.
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La investigación performativa establece estrechos lazos entre propuestas teóricas y metodológicas, así como con la subjetividad y la objetividad. La autora aborda el baile flamenco con una metodología performativa de corte epistemológico que le permite acercarse al fenómeno desde su cuerpo. En el texto lanza cuestionamientos sociales, antropológicos, corporales, históricos, estructurales y afectivos. La investigación performativa está relacionada con el ejercicio crítico y reflexivo del quehacer del investigador como persona y ejecutante. La propuesta apunta a la producción de conocimiento desde el propio cuerpo.Palabras clave: cuerpo; performatividad; reflexividad; danza; antropología; Sevilla.
 Notes on Dance Epistemology from the Viewpoint of FlamencoAbstractPerformative research links theoretical and methodological tools with issues of subjectivity and objectivity. The author addresses flamenco dance from an epistemological and performative perspective grounded in her body. She poses a set of social, anthropological, bodily, historical, structural, and affective questions. Performative research is closely related to reflexivity, which is the critical exercise of the researcher’s work as a person and performer. The article calls for the production of knowledge from the body.
 Recibido: 14 de febrero de 2021Aceptado: 06 de junio de 2021
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Morales López, Julio Ulises. "La condición trans y lo performativo de la vida transnacional para el etnógrafo." RIEM. Revista internacional de estudios migratorios 7, no. 4 (2018): 335. http://dx.doi.org/10.25115/riem.v7i4.1973.
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Introducción: Este texto explica un concepto de autoría propia llamado la condición trans o lo trans. Dicho concepto espera contribuir a la comprensión de los procesos subyacentes de desterritorialización en las sociedades transnacionales; se propone reflexionar sobre el cuerpo transnacionalizado mediante las prácticas del lenguaje en los enunciados performativos acción-enunciación, que permitan acopiar mayores elementos parta estudiar otros ámbitos de la vida de los migrantes transnacionales en el llamado tercer espacio. Basado en reflexiones derivadas del trabajo de campo, el texto también explora el marco de referencia geoespacial como una práctica performativa del etnógrafo transnacional al situarse en un campo etnográfico como espacio social disperso y desbordado, de esta forma, la percepción del investigador deberá ser consecuente con esa condición trans. Como conclusión, se destaca la importancia de los marcos de referencia para comprender los procesos de la vida transnacional tanto de los interlocutores (informantes) como de los investigadores especializados en la etnografía en contextos desterritorializados.Método: Es una investigación de corte etnográfico con un campo social transnacional, el énfasis central es profundizar en el tercer espacio mediante la reflexión del cuerpo a través de los enunciados performativos. La investigación sintetiza experiencias de trabajo de campo de diversas investigaciones propias durante los años 2002-2011, realizadas con transmigrantes mexicanos indígenas y no indígenas, al igual que con indígenas ecuatorianos dispersos en la Unión Europea.Resultados: El análisis de los enunciados performativos puede construir un mejor entendimiento de los procesos de desterritorialización dentro de las sociedades transnacionales, así como también, el concepto de condición trans o lo trans, puede aportar reflexiones concernientes a los marcos de referencia en la etnografía transnacional. Lo anterior, resulta fundamental ya que la simultaneidad o sincronía obligan a adoptar marcos analíticos que expongan un campo etnográfico en tetradimensionalidad fuera de la lógica euclidiana.Discusiones: el concepto de condición trans o lo trans posee los siguientes argumentos a discutir: atención central en la desterritorialización, el uso del lenguaje a través de los enunciados performativos para comprender la cultura, la importancia de los marcos de referencia para el estudio de las sociedades transnacionales, la simultaneidad o sincronía como elemento integrador de lo trans y la transnacionalidad.Introduction: This text explains a concept of self-authorship called the trans or trans condition, this concept hopes to contribute to the understanding of the underlying processes of deterritorialisation in transnational societies; it is proposed to reflect on the body through the language practices of the action-enunciation performative statements, that allow to gather more elements to study other areas of life of transnational migrants in the so-called third space. But also, the text explores the geospatial framework as a performative practice of the transnational ethnographer as it is placed in an ethnographic field as a dispersed and overflowing social space, so the researcher's perception must be consistent with this trans condition.Method: It is an ethnographic research with a transnational social field, the central emphasis is to deepen the third space through the reflection of the body through the performative statements. The research synthesises fieldwork experiences of several own investigations during the years 2002-2011, with Mexican and non-indigenous Mexican transmigrants as well as Ecuadorian indigenous people scattered throughout the European Union.Results: The analysis of performative statements can build a better understanding of the processes of deterritorialisation within transnational societies, as well as the concept trans or trans condition, can provide reflections concerning the frames of reference in transnational ethnography. This is fundamental because the simultaneity or synchrony forces to adopt analytical frameworks that expose an ethnographic field in four-dimensionality outside Euclidean logic.Discussions: The concept of trans or trans condition has the following arguments to discuss: central focus on deterritorialisation, use of language through performative statements to understand culture, the importance of frames of reference for the study of Transnational societies, simultaneity or synchrony as an integrating element of trans and transnationality.
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Douglas, Kitrina, and David Carless. "An Invitation to Performative Research." Methodological Innovations Online 8, no. 1 (2013): 53–64. http://dx.doi.org/10.4256/mio.2013.0004.
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Wagensveld, Koos, and Jasper Jolink. "Performative research: A Baradian framework." Maandblad Voor Accountancy en Bedrijfseconomie 92, no. 1/2 (2018): 27–35. http://dx.doi.org/10.5117/mab.92.23787.
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This paper stresses the importance of materiality in accounting and organization studies. Accounting and organization studies have overlooked the ways in which accounting and organizing is bound up with the material forms and spaces through which humans act and interact. To incorporate the materiality concept in accounting and organization research, an agential realism research approach is proposed in this paper (Barad 2007). The paper concludes that agential realism can at least make three contributions to the literature. First, Baradian studies can contribute by illustrating the importance of material relations in the constitution of accounting and management practices. By interrogating the rich variety of materialities involved in the practices of measurement or making of innovation, Baradian studies expand the methodological choices available to practice-theoretic accounts of accounting or innovation work. It is the entanglement of many types of matter that perform and affect (sometimes in a disruptive way) the making of accounting measures or innovation. Second, Baradian studies can contribute by reframing the causal relations from which accounting measurements and innovations are made. Baradian studies can illustrate the intra-dependencies that exist between the things represented and constituted, and the representations made. Finally, Baradian studies can contribute by illustrating the ways in which properties of abstract concepts and ideals (e.g. liabilities, innovation) are the consequence, not of human-based practice, but of socio-material re-configurings.
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Haseman, Brad. "A Manifesto for Performative Research." Media International Australia 118, no. 1 (2006): 98–106. http://dx.doi.org/10.1177/1329878x0611800113.
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Researchers in the arts, media and design often struggle to find serviceable methodologies within the orthodox research paradigms of quantitative and qualitative research. In response to this and over the past decade, practice-led research has emerged as a potent strategy for those researchers who wish to initiate and then pursue their research through practice. This paper examines the dynamics and significance of practice-led research, and argues for it to be understood as a research strategy within an entirely new research paradigm: performative research. Taking its name from J.L. Austin's speech act theory, performative research stands as an alternative to the qualitative and quantitative paradigms by insisting on different approaches to designing, conducting and reporting research. The paper concludes by observing that, once understood and fully theorised, the performative research paradigm will have applications beyond the arts and across the creative and cultural industries generally.
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Cornago Bernal, Óscar. "El texto y la situación. Fragmentos de una exposición imaginaria sobre performatividad y metodologías de investigación en la obra de Dora García." Philologia hispalensis 2, no. 35 (2021): 55–74. http://dx.doi.org/10.12795/ph.2021.v35.i02.04.
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Análisis de la obra de Dora García en el contexto de la recuperación de las prácticas performativas a partir de los años 90 y en relación con el auge de la microsociología y el concepto de situación. El protagonismo de la palabra, los libros y la literatura en su trabajo, dirige el foco de análisis de los recursos performativos a las formas de uso de los textos y las situaciones generadas por estas formas de uso: leer/interpretar, escribir/contar, conversar, anunciar/escuchar, repetir. La conclusión es que las prácticas artísticas, revisadas en términos de performatividad, han conducido a unos modos de conocimiento ligados a una economía de los medios y los recursos, que es también una ecología de los saberes y los cuerpos.
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Bauer-Nielsen, Birgitte. "The Choreographer’s View." Nordic Journal of Dance 8, no. 1 (2017): 32–39. http://dx.doi.org/10.2478/njd-2017-0005.
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Abstract In 2016, I published a book in Danish ‘Koreografens blik – En performativ koreografisk metode til skabelse af en interkulturel forestilling’. This article is a short presentation of this book. The book qualifies the choreographer’s view, that is, it examines and articulates the choreographic process from idea to product. Because of my dual role as choreographer and scholar, my analysis takes practice-based research and artistic research as its points of departure. On the basis of courtship dances, I have created an intercultural dance performance entitled ‘Sommerfuglen’ (‘The Butterfly’). The performers are dancers and musicians from Tanzania, Vietnam and Denmark. Courtship dances have a ritual status in all three cultures. I analyse the translocal process of the development of an intercultural dance performance in which local Tanzanian courtship dance features are analysed. The focal point of the translocal analysis are artistic and social practices that support the dance performance. What changes occur from translocal practice and/or dialogue? How can they be used in a global dialogue? The theories and methods used to analyse performative choreographic practice have their origins in performative anthropology, performance studies and theories of performativity.
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Vickers, David Andrew, Alice Moore, and Louise Vickers. "Performative narrative and actor-network theory – a study of a hotel in administration." International Journal of Organizational Analysis 26, no. 5 (2018): 972–83. http://dx.doi.org/10.1108/ijoa-03-2018-1385.
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Purpose This study aims to weave together narrative analysis (hereinafter NA) and Actor-Network Theory (hereinafter ANT), in order to address recent calls for performative studies to combine approaches and specifically to use ANT. Particularly, they address how a conflicting narrative is mobilised through a network of internal–external and human–nonhuman actors. Design/methodology/approach A fragment of data, generated from a longitudinal case study, is explored using NA and ANT in combination. Findings By engaging with ANT’s rejection of dualisms (i.e. human–nonhuman and micro–macro) and its approach to relationality, the authors inform NA and performative studies. They also add to the limited literature addressing how conflicting antenarratives are mobilised and shape the organisation’s trajectory. Research limitations/implications Generalizing from a single case study is problematic, although transferability is possible. Generalisability could be achievable through multiple performative studies. Practical/implications By demonstrating how counter networks form and antenarrative is constructed to supplant hegemonic narrative, the authors are able to problematise the taken for granted and highlight the possibilities offered by divergent voices. Originality/value The performation provides a deeper understanding of organisational performance through our NA-ANT combination, and the authors provide insight into the mobilisation of conflicting narratives in organisation studies.
Dissertations / Theses on the topic "PERFORMATIVE RESEARC"
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FERRI, NICOLETTA. "EMBODIED TEACHING: PROSPETTIVE DI RICERCA A SCUOLA ATTRAVERSO L'ANATOMIA ESPERIENZIALE." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2018. http://hdl.handle.net/10281/241227.
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Questo lavoro di ricerca nasce dal desiderio di indagare il potenziale riflessivo, euristico e trasformativo della dimensione embodied nei processi di insegnamento/apprendimento. Per farlo ha interrogato un gruppo di insegnanti della scuola primaria, coinvolgendole in una ricerca partecipativa sulle proprie pratiche di insegnamento e sul loro modo unico di incarnarle (embodied teaching), a partire da un’attivazione corporea specifica (Anatomia Esperienziale).
La mia domanda di ricerca si è orientata in due direzioni. Ad un livello metodologico potrebbe essere formulata nel seguente modo: come interrogare l’embodied teaching (Bresler, 2014) di professionisti della scuola, cioè il modo incarnato di interpretare il processo di insegnamento/apprendimento? Ad un livello tematico, invece, l’interrogativo di fondo potrebbe essere così posto: cosa emerge quando si va ad attivare un processo di riflessione sulla pratica professionale di un gruppo di insegnanti della scuola primaria a partire da un’interrogazione che passa dalla percezione e dall’attivazione corporea?
Collocandomi nell’area di ricerca della Pedagogia del corpo (Gamelli, 2011), il macro-paradigma dell’embodiment ha rappresentato un riferimento epistemologico importante per il lavoro. In esso ho trovato un fertile incontro di studi, ricerche e pratiche provenienti da ambiti molto distanti, tra cui le scienze cognitive (l’enactive embodiment di Varela, Thompson, Rosch, 1991), l’ambito performativo (Farnell, 1995; Sheets-Johnstone, 1999; Bresler, 2014) e quello più legato all’educazione (Gamelli, 2011; Rossi, 2017). È precisamente all’incontro di queste tre aree che si colloca la prospettiva di ricerca del presente lavoro.
La parte empirica della ricerca si è svolta con un gruppo di sette insegnanti di una scuola primaria milanese, su adesione volontaria, in sei incontri di tre ore circa ciascuno. Il setting di ricerca è stato strutturato in modo che ci fosse una stratificazione dell’esperienza corporea proposta affinchè ognuna delle partecipanti potesse contattare il proprio embodied teaching nel rispetto del proprio stile personale e corporeo di insegnamento. La metodologia della “co-operative-inquiry” (Heron, Reason, 1997) e la successiva interpretazione di Formenti nella “spirale della conoscenza” (Formenti, 2009), oltre che fornirmi un riferimento epistemologico in termini di dimensione partecipata della conoscenza, mi hanno fornito riferimenti importanti per disegnare la struttura interna degli incontri in modo coerente con i miei presupposti teorici.
L’anatomia esperienziale del Body-Mind Centering è stata la pratica somatica che ho utilizzato per la ricerca empirica. Tutti gli incontri sono stati audioregistrati e trascritti. Dopo una prima analisi tematica attraverso NVivo, è maturata la decisione di andare verso una svolta più performativa della mia ricerca. Questo cambio di prospettiva ha richiesto l’ideazione e la costruzione di un dettagliato – e inedito – metodo di ricerca embodied. Si tratta di uno dei passaggi più originali della mia ricerca di dottorato, che ha visto l’inizio di un lavoro di analisi corporea e performativa dei dati attraverso segmenti audio e testuali che ho selezionato dalle trascrizioni e dai materiali audio degli incontri con le insegnanti.
Questa analisi performativa, documentata in 160 riprese video, si è poi direzionata verso la creazione di una video-performance utilizzata come restituzione alle insegnanti rilanciandolo e aprendo nuovi interrogativi e così possibili sviluppi per ricerche future legate alla dimensione corporea della professione insegnante.<br>This thesis is deeply connected with the will of investigating the reflective, heuristic and transformative potential of the embodied dimension in teaching and learning processes. For this purpose, I engaged a group of Primary School teachers in a participatory research focused on their personal way of embodying teaching practices (embodied teaching) starting from a specific body activation (Experiential Anatomy).
My research question was twofold. At a methodological level I was interested in interrogating the embodied teaching (Bresler 2014) of school professionals, namely their own way of performing the teaching/learning processes. At a thematic level the question was: what does it happen when a researcher activate a reflective process on professional practices of a group of primary school teachers through body activations?
My main theoretical frame is represented by Embodied Pedagogy (Gamelli, 2011) and my fundamental epistemological reference is the so-called “embodiment paradigm”. This paradigm is a generative common ground for studies and practices connected to heterogeneous fields as cognitive sciences (Varela, Thompson and Rosch, 1991), performative disciplines (Farnell, 1995; Sheets-Johnstone, 1999; Bresler, 2014) and education (Gamelli, 2011; Rossi, 2017). My research perspective lies exactly at the crossroads of these three main areas.
The empirical part of my research took place in a Primary School of Milan. I addressed a group of teachers with a research proposal structured on six meetings of three hours each. The research setting was designed in a way that allowed a multi-layered experience of the body activations in order to let each participant explore her own embodied teaching, namely her own personal way of performing teaching. The “co-operative inquiry” theorized by Heron and Reason (1997) and Formenti’s “Spyral of knowledge” (2009) were the two main epistemological pivots in reflecting on the research objectives, as they both advance the idea of research as a co-construction of participatory knowledge. They were also fundamental in order to design the internal structure of each meeting consistently with my theoretical assumptions.
Experiental Anatomy of Body-Mind Centering was the somatic practice that I used for the empirical part. Each meeting was audio-recorded and transcribed. After a first thematic analysis with Nvivo I decided to turn my research in a performative direction. This change of perspective required the creation of a detailed embodied research method. This is the most original part of my thesis that consisted in a performative analysis of a selection of collected data (originated in the six meetings with the participants) in the form of textual and audio excerpts.
This performative analysis, documented by 160 video shootings, ended in the creation of a video-performance that was used as a starting point of the final meeting with research participants. The use of this aestethic and performative object in the research setting revealed itself as a powerful tool in order to trigger an high level of participation in the group. The final meeting, in fact, was a fundamental moment as the participants’ reflections transformed “my” performative composition in a shared knowledge connected with all the research process. The results were very interesting both in terms of new questions raised by the teachers and of future research possibilities in the direction of embodied teaching.
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Hafermalz, Ella Wiebke. "The Performative Office: A Multi-Case Problematization of Remote Working." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15565.
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Remote work involves working for an organisation from a location other than a central office, usually from home. In this thesis I aim to reorient the conversation on remote work away from evaluation and towards understanding. I do this by asking the question “how does remote working work?” I present four cases that relate to empirical material generated through interviews with remote workers and managers. I problematize dominant assumptions about remote work, in both theory and practice, through an abductive research process that leads to the development of two conceptual models. There are five main findings presented in the thesis. The first is that the notion of remoteness can be revealingly understood as an experience that is linked to the fear of exclusion. The second finding is that the practice termed “flexible working” can either support or undermine remote working arrangements, depending on how the office is seen and enacted according to differing ontological positions. Thirdly, I find that the assumption that remote workers are “absent” from the office neglects the ways in which remote workers are able to skilfully become present with others by using basic ICTs to become present with one another, a process that I illustrate in a model of presencing work. In the final case I present the finding that remote workers engage in layered mediated communication in order to construct social and professional belonging amongst the work group, through what I term the work of belonging. The fifth and overarching finding is that our current way of understanding remote work is shaped by how we think about and enact the category of the office in practice. I argue that when the office is thought of solely as either a physical place, or alternately as a virtual space that is purely technological, we miss the layered, distributed way in which most organisational work is performed today. I therefore present as a key contribution and thus alternative starting point for future research the notion of the performative office. I draw here on a performative ontology to propose an understanding of the office as a sociomaterial configuration that is enacted through ongoing and distributed work. In such a conceptualisation, the need for the qualifier of remote is removed, as all workers have the potential to be equally involved in the enactment of the office.
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Tränkle, Marion. "Material agency and performative dynamics in the practices of media art." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/8767.
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This dissertation identifies a strategy of artistic inquiry within contemporary media art practice. It applies the concept of material that acts in an agential capacity, generating performative acts. It argues that the emergent potentials of materials and their interconnectedness with the compositional layers of a work can facilitate modes of effecting change in the artistic system. Through the theoretical investigation of the production processes of physical structures and environments, the thesis focuses on the compositional dynamics within which materials actively perform. It examines how Lars Spuybroek’s architectural design method of Material Machines (2004), and both the tactile potential as well as tactical uses of materials as generators to the formtaking process, might describe an open and active artistic strategy for employing the experimental capacities of such materialization processes. Building on philosophical and conceptual arguments that trace concepts of agency (Bruno Latour’s Actant-Network theory) and enactment (Karen Barad’s concept of intra-acting), the thesis introduces the two installation works ANI_MATE (described as a performative pneumatic stage machine) and ON TRACK (described as a mechanic-robotic installation). These apply the introduced artistic strategies. The analyses of these two artworks traces the particular capacities of the materials involved (respectively, their elasticity or viscosity) to negotiate forces of physical movement, which effect the system to transiently or irreversibly transform. ANI_MATE is a machine that is artist-operated and that explores the relationship between liveanimation procedures and the transformability and flexibility of its material environment. In contrast, ON TRACK’s performative machine ecology removes human agency. The machines act autonomously, giving rise to chance in the artistic system and allowing agency to emerge from the dynamic interconnectivity between materials, parts, and processes, eventually producing an entropic scenario of spilling resources. The thesis concludes that, in the context of a post digital paradigm in-development, such artistic practice offers a new strategy for an emergent aesthetics within contemporary physical-digital performance.
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Gunn, Maja. "Body acts queer : Clothing as a performative challenge to heteronormativity." Doctoral thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-9835.
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This artistic, practice-based thesis has been developed based on the idea that design creates social and ideological change. From this perspective, Body Acts Queer — Clothing as a performative challenge to heteronormativity introduces an artistic way of working with and exploring the performative and ideological functions of clothing with regard to gender, feminism, and queer. The thesis presents this program for experimental fashion design—exemplified through a series of artistic projects—while also discussing the foundations of such an approach and the different perspectives that have affected the program and its artistic examples. Working with clothing and fashion design through artistic projects using text and bodies, this thesis transforms queer and feminist theory into a creative process and, by looking into bodily experiences of clothing, Body Acts Queer investigates its performative and ideological functions, with a focus on cultural, social, and heteronormative structures. Body Acts Queer suggests a change in the ways in which bodies act, are perceived, and are produced within the fashion field, giving examples of—and alternatives to—how queer design practice can be performed. In this thesis, queer design is explored as an inclusive term, containing ideas about clothing and language, the meeting point between fiction and reality, and the ability to perform interpretation and bodily transformations—where pleasure, bodily experiences, and interaction create a change.
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Finocan, Gillian M. "Grieving the death of a loved one a performative writing approach for understanding the power of dreams /." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1249521118.
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Nel, Daniel Hermanus Greyling. "Performative digital asset management: To propose a framework and proof of concept model that effectively enables researchers to document, archive and curate their non-traditional research data." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84761/3/Daniel_Nel_Exegesis.pdf.
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This cross disciplinary study was conducted as two research and development projects. The outcome is a multimodal and dynamic chronicle, which incorporates the tracking of spatial, temporal and visual elements of performative practice-led and design-led research journeys. The distilled model provides a strong new approach to demonstrate rigour in non-traditional research outputs including provenance and an 'augmented web of facticity'.
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Macklin, Simon James-Ian. "A debt to pleasure : ecstasy + knowledge + performance." Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/15823/1/Simon_Macklin_Thesis.pdf.
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This performance-as-research project documents, both through linguistic and non-linguistic texts, an investigation of the materiality of performative knowledges and analyses Music Theatre as an ecstatic and hyper-erotic creator of these knowledges. By actively engaging in a performative translation of an historical Music Theatre work, this research investigates how ecstatic inscription creates materiality within the performative knowledges of Music Theatre, and aims to provide further substance to the discourse surrounding performative knowledges and their relation to the epistemology and methodology of performance-as-research.
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Macklin, Simon James-Ian. "A Debt to Pleasure: Ecstasy + Knowledge + Performance." Queensland University of Technology, 2002. http://eprints.qut.edu.au/15823/.
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This performance-as-research project documents, both through linguistic and non-linguistic texts, an investigation of the materiality of performative knowledges and analyses Music Theatre as an ecstatic and hyper-erotic creator of these knowledges. By actively engaging in a performative translation of an historical Music Theatre work, this research investigates how ecstatic inscription creates materiality within the performative knowledges of Music Theatre, and aims to provide further substance to the discourse surrounding performative knowledges and their relation to the epistemology and methodology of performance-as-research.
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Terra, Mariana. "“Pra Ver Pouquinho”: (Re)considerações sobre o olhar e o universo da iluminação cênica." Escola de Teatro, 2013. http://repositorio.ufba.br/ri/handle/ri/27155.
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DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 263168541 bytes, checksum: 0174e9dd540dc0aeb04c3aa988fe2dbe (MD5)<br>Esta dissertação destina-se ao lançamento de pressupostos que pretendem provocar revisões
do campo da iluminação cênica enquanto área artística de saberes especializados, os quais
têm sua fundamentação em conhecimentos técnicos do mundo conjugados à experiência
integral do corpo vivido (soma). O objetivo é propor ligações intencionais do sujeito
observador à sua própria percepção visual, no sentido de acessar estados criativos de olhar.
No âmbito desta pesquisa, entende-se que tanto o profissional da iluminação cênica quanto
pessoas não especializadas da área são realizadores e co-criadores da aparência visual do que
está em seu campo de visão e, portanto, iluminadores de seu próprio olhar. Abrem-se, com
isso, as comportas das convencionais burilações do status de artista e espectador, obra de arte
e cotidiano. Por uma abordagem somático-performativa de experiência artística e também de
construção estrutural da escrita, considera-se a integração interno-externo da percepção visual
como aquilo que estabelece outros parâmetros para compreender a iluminação cênica a partir
de princípios que reorganizam seus saberes fundamentais: a luz, o olhar e o aspecto visível
das coisas do mundo. O campo passa a ser entendido como uma multiplicidade variada e
infinita de possibilidades artístico-criativas, não mais se limitando exclusivamente a suprir
necessidades plástico-visuais de espetáculos cênicos. O texto é uma narração autobiográfica
em que relato os percursos, crises, desvios e descobertas que levaram a tais afirmações; tratase,
portanto, de uma obra em processo contínuo. Ferramentas metodológicas de imagens
somático-performativas auxiliam na articulação e movimentação vívida das ideias dispostas.
Este é um trabalho multirreferencial de autores, conceitos e obras artísticas. Os principais
conceitos que apoiam as discussões são: performatividade, imagem somático-performativa,
observador e espectador emancipado. Outros conceitos ainda aparecem como pilares de
temas específicos, como é o caso de co-evolução entre luz e cena e olho variável. Os autores
que fundamentam o trabalho para falar de iluminação cênica são Roberto Camargo e Richard
Palmer. Para dar consistência às proposições lançadas auxiliam-me Ciane Fernandes, Richard
Schechner, Eve Sedgwick, Andrew Parker, Jacques Rancière, Jonathan Crary, Jacques
Aumont, Alva Nöe, Vilém Flusser e Italo Calvino, dentre outros que aparecem pulverizados
ao longo da travessia.<br>This dissertation is intended to launch assumptions that pretend to provoke revisions of the
field of stage lighting as an artistic specialized area that has its foundation in expertise about
the technical knowledge of the world combined to fully experience of the living body (soma).
The goal is to propose the observer's intentional connections to their own visual perception,
been able to access states of creative look. Within this research it is understood that both the
professional stage lighting artist and the inexperienced people in this specific area are
achievers and co-creators of the visual appearance of what is in their field of vision, and
therefore the lighting doers of their own look. From that the floodgates of convencional
rummage through status of artist and spectator, artwork and everyday life get opened. By a
somatic-performative approach to artistic experience and also structural construction of
writing, the integration of the internal-external visual perception are considered the settings
for other parameters to understand the stage lighting from principles that reorganize their
fundamental knowledgement: light, the look and appearance of visible things of the world.
The field becames understood as multiple variations and infinite possibilities of artistic
creations, no longer limited solely to meet the plastic-visual needs of scenic spectacles. The
text is an autobiographical narration of the routes, crises, detours and discoveries that led to
such claims, so it is a work in continual process. Methodological tools of somatic-perforative
images helps the articulation and vivid movement of the arranged ideas. This is a work of
multi-referential authors, concepts and artworks. The main concepts that support the
discussions are: performativity, somatic-performative image, observer and emancipated
spectator. Other concepts also appear as pillars of specific topics, such as co-evolution
between light and live scene and the variable eye. The authors that give the foundation to
speak about stage lighting are Roberto Camargo and Richard Palmer. To give consistency to
the propositions presented the ones that help me are Ciane Fernandes, Richard Schechner, Eve
Sedgwick, Andrew Parker, Jacques Rancière, Jonathan Crary, Jacques Aumont, Alva Noë,
Vilém Flusser and Italo Calvino, and yet some others that appear sprayed over the crossing.
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Elgemiabby, Malaz. "The Orphanage of Things: A Narrative of Abandonment." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3831.
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In Sudan, 110 babies are abandoned in the streets of Khartoum every month. The majority of abandoned children are born out of wedlock. Young women with illegitimate pregnancies are often ostracized by their families and society, and the lack of emotional, financial and legal support has led many to take desperate measures, including the abandonment of their children. Relinquishing mothers exist like ghosts in Sudanese society. The only evidence of the mother’s experience is her anonymous, abandoned child. In order to understand and examine this phenomenon, I used ethnographic performance art informed by design research practice (Performative Research Design). I performed various acts of abandonment to examine the mechanism and psychology of the act of abandonment. I endeavored through concrete, lived experiences to better empathize with the relinquishing mother and create awareness of the wider psychological and social complexities of child abandonment.
Books on the topic "PERFORMATIVE RESEARC"
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J, Gergen Kenneth, ed. Playing with purpose: Adventures in performative social science. Left Coast Press, 2012.
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Performing the sentence: Research and teaching in performative fine arts. Sternberg Press, 2014.
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Dupré, Sven, Anna Harris, Julia Kursell, Patricia Lulof, and Maartje Stols-Witlox, eds. Reconstruction, Replication and Re-enactment in the Humanities and Social Sciences. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728003.
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Performative methods are playing an increasingly prominent role in research into historical production processes, materials, bodily knowledge and sensory skills, and in forms of education and public engagement in classrooms and museums. This book offers, for the first time, sustained, interdisciplinary reflections on performative methods, variously known as Reconstruction, Replication and Re-enactment (RRR) practices across the fields of history of science, archaeology, art history, conservation, musicology and anthropology. Each of these fields has distinct histories, approaches, tools and research questions. Researchers in the historical disciplines have used reconstructions to learn about the materials and practices of the past, while anthropologists and ethnographers have more often studied the re-enactments themselves, participating in these performances as engaged observers. In this book, authors bring their experiences of RRR practices within their discipline into conversation with RRR practices in other disciplines, providing a basis for interdisciplinary cross-fertilization.
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Huber, Annegret, Doris Ingrisch, Therese Kaufmann, Johannes Kretz, Gesine Schröder, and Tasos Zembylas, eds. Knowing in Performing. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839452875.
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How can performing be transformed into cognition? Knowing in Performing describes dynamic processes of artistic knowledge production in music and the performing arts. Knowing refers to how processual, embodied, and tacit knowledge can be developed from performative practices in music, dance, theatre, and film. By exploring the field of artistic research as a constantly transforming space for participatory and experimental artistic practices, this anthology points the way forward for researchers, artists, and decision-makers inside and outside universities of the arts.
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Ferreri, Mara. The Permanence of Temporary Urbanism. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462984912.
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Temporary urbanism has become a distinctive feature of urban life after the 2008 global financial crisis. This book offers a critical exploration of its emergence and establishment as a seductive discourse and as an entangled field of practice encompassing architecture, visual and performative arts, urban regeneration policies and planning. Drawing on seven years of semi-ethnographic research, it explores the politics of temporariness from a situated analysis of neighbourhood transformation, media representations and wider political and cultural shifts in austerity London. Through a longitudinal engagement with projects and practitioners, the book tests the power of aesthetic and cultural interventions and highlights tensions between the promise of vacant space re-appropriation and its commodification. Against the normalisation of ephemerality, it presents a critique of the permanence of temporary urbanism as a glamorisation of the anticipatory politics of precarity which are transforming cities, subjectivities and imaginaries of urban action.
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McRae, Chris. Performative Listening: Hearing Others in Qualitative Research. Lang AG International Academic Publishers, Peter, 2014.
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McRae, Chris. Performative Listening: Hearing Others in Qualitative Research. Lang AG International Academic Publishers, Peter, 2014.
Find full textBook chapters on the topic "PERFORMATIVE RESEARC"
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Rodríguez-Dorans, Edgar. "Performative Portraits." In Narrative Portraits in Qualitative Research. Routledge, 2022. http://dx.doi.org/10.4324/9781003013785-5.
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Spry, Tami. "Performative Autoethnography." In Research Methods in Performance Studies. Routledge, 2023. http://dx.doi.org/10.4324/9781351044790-15.
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Chemi, Tatiana, and Anne M. Harris. "Performative Research in Education." In Encyclopedia of Educational Innovation. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-2262-4_47-1.
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Gergen, Mary. "Research as Performative Inquiry." In The Sage Handbook of Social Constructionist Practice. SAGE Publications Ltd, 2020. http://dx.doi.org/10.4135/9781529714326.n6.
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Piazzoli, Erika. "Performative Research: Methodology and Methods." In Embodying Language in Action. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77962-1_9.
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Knudsen, Kristian Nødtvedt, and Anna-Lena Østern. "Research through the gaze of the dramaturge." In Performative Approaches in Arts Education. Routledge, 2019. http://dx.doi.org/10.4324/9780429444159-5.
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Widmalm, Sven. "Innovation and Control: Performative Research Policy in Sweden." In Higher Education Dynamics. Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-5249-8_3.
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Haanstad, Eric. "Performative Ethnography: Observant Participation in Southeast Asia." In Methodology and Research Practice in Southeast Asian Studies. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137397546_5.
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Dewsbury, J. D. "Performative, Non-Representational, and Affect-Based Research: Seven Injunctions." In The SAGE Handbook of Qualitative Geography. SAGE Publications, Inc., 2010. http://dx.doi.org/10.4135/9780857021090.n20.
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Warren, John T. "Performative and Pedagogical Interventions: Embodying Whiteness as Cultural Critique." In Mapping Landscapes for Performance as Research. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244481_27.
Full textConference papers on the topic "PERFORMATIVE RESEARC"
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Gimenez Calpe, Ana. "The Lecture-Performance: Implementing Performative Pedagogy in Literature Class." In Sixth International Conference on Higher Education Advances. Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/head20.2020.11186.
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In recent years the performative has gained importance within the pedagogical field and has opened new perspectives in educational research. Experience has shown that the integration of performative elements in the learning process allow teachers to involve learners emotionally and cognitively. The present paper deals with a learning experience performed with students in the course “German Literature (2nd language)” at the University of Valencia. From the perspective of Performative Pedagogy, students are asked to carry out a research project and then transfer the acquired knowledge to the theatrical format that must be didactic: a Lecture-Performance. This activity highlights the benefits of students’ autonomous and cooperative learning, as well as the development of students’ performative competence, with which they achieved deeper levels of understanding and improved their retention of what was studied. The teacher evaluation and a questionnaire carried out by the students at the end of the activity confirm the achievement of the initial objectives.
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Keski-Korsu, Mari. "Love Me to Death: A Performative Ritual with Rats." In Proceedings of Polititcs of the machines - Rogue Research 2021. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/pom2021.22.
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Dietz, Dieter, Aurélie Dupuis, Julien Lafontaine Carboni, and Darío Negueruela Del Castillo. "A Performative Threshold Between Teaching Research and Practice: Atlas Poliphilo as Scaffold." In 2019 Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.65.
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Hunches allow us to navigate in a trans-scalar world. Without them, teachers, researchers and practitioners would be left aimless.Hunches relate to the embodied and synthetic nature of the knowledge we produce, but also to its unfolding. Instead of denying importance of hunches or minimizing their impact, can we imagine to build a more apt framework for the kinds of encounters and negotiation they facilitate? Shall we do it within pre-existing academic and practical knowledge? Can we set up a pedagogical experience that sets a time and space to collectively integrate and share hunches, to experiment with them and to ultimately operationalize them in designerly or scientific manners? In this paper, we introduce and discuss our experience with Atlas Poliphilo, an experimental studio that runs its second iteration during the spring semester 2019. Neither a design studio nor a seminar, the Atlas sets up a framework for collaborative enquiry that further elaborates on them. The course gathers students from civil and environmental engineering together with students of architecture, and landscape architecture to work collaboratively for one semester. This experience is framed in our work on new visions for the trans-border Greater Geneva as one of the selected teams aiming at tackling its current social, economic and environmental challenges and constructing a framework to think and discuss its growth in the next 35 years.This interdisciplinary course addresses an alternative of perceiving and integrating the constitutive complexity of the territory and the intertwined trajectories of all its different agents. Departing from the situated experiences of the students within a given site of exploration, the course aims at carefully unfolding their many dimensions – the relational and performative aspects of involvement, bodily experience, environmental context and objects, individual and collective cultural frames – allowing to experiment with them and to render them explicit. This is grounded on the conviction that an ability to affect is reciprocated by a capacity of being affected.
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De Nicola, Alessandra. "HERITAGE AND ART EDUCATION THROUGH THE SCREEN. FILLING THE SPACE BY PERFORMATIVE METHODOLOGIES." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end140.
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Long before the pandemic, museums started to invest, experimenting with some performative practices (Bishop 2006; Lista 2006) as a method and tool to foster access and participation of different audiences to their heritage. Since the advent of the #culturequarantine, in which most of the educational activities have taken place through a digital space, care and attention to gesture and space have become a key to respond effectively to the needs of educators and users. After an initial phase of rejection and disorientation, teachers, educators and trainers had to find new answers. The aim of this contribution is to describe some of these answers looking at methodologies coming from the field of choreographic and performance research. The argumentation will pass through the narration of some international proposals, three action research experiences accomplished with museum educators and schoolteachers, through which it was possible to observe how the needs and requirements changed as the lockdown conditions changed. The outcome of the research, which took about one year, is the reconsideration of the body as a mediator of the educational and training experience. On the one hand we see the "body as archive" for new knowledge, on the other hand, the space of digital educational activities is reified, thanks to this new role of the body.
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Zorrilla, María Luisa. "PERFORMATIVE AND THEMATIC TRANSVERSALITIES IN DEVELOPING GENERIC SKILLS THROUGH MULTIMODAL TRANSVERSAL LEARNING UNITS IN A MEXICAN PUBLIC UNIVERSITY." In 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.1923.
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Abbas, Naqaa, and Hend Taher. "Celebrating Culture - Literary Communities of Practice in Doha." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0264.
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Our paper focuses on the role of arts and culture in Doha. More specifically, we examine literary circles in Doha (both Arab and English speaking) and regard them as ‘communities of practice.’ According to Etienne Wenger, communities of practice are “groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” Moreover, such communities are seen as promoting innovation, developing social capital, facilitating and spreading knowledge within a group, and spreading existing knowledge. Recently, there has been a surge of active literary communities presenting their creative work in both English and Arabic attracting a variety of audiences and fans. For instance, young authors such as Kumam Al Maadeed, Eissa Abdullah, Buthaina Al-Janahi and Abdullah Fakhro not only have a huge online following, but they also have a significant fan base attending their events throughout the city. Besides these communities, there are also numerous organizations with which these celebrity authors are associated such as Qalam Hebr, Qatari Forum for Authors, and Outspoken Doha – we argue that such organizations can also be regarded as communities of practice. Our contention is that these ever-growing communities provide a performative space in which poets, singers, authors and artists can experiment with the fluidity of their assigned identities, cultures and traditions.
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Nefedev, S. "SOCIO-ECOLOGICAL ASPECTS OF INFORMATION AND COMMUNICATIVE EFFECTS." In Man and Nature: Priorities of Modern Research in the Area of Interaction of Nature and Society. LCC MAKS Press, 2021. http://dx.doi.org/10.29003/m2585.s-n_history_2021_44/51-62.
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The article, from the standpoint of the «memetic» and «network» paradigms, examines the factors, mechanisms and socio-ecological consequences of information and communication influences. The phenomenon and mechanisms of information infection, the role of meme-viral influences in the processes of socio-cultural evolution are analyzed. The prospects for the development of effective research and socio-performative methods and technologies based on the joint use of the principle of viral information and communication influences and the «network» approach are studied. The ways of determining the intensity of «information infection» of the social space and the degree of «cognitive damage» of the population are discussed. It is shown that important socio-ecological problems of an information civilization are: the problem of uncontrollable side effects of information and communication influences and a tendency to the loss of human-centeredness (dehumanization) of network forms of social organization and control over them by a person.
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Taylor, Chris. "Great Salt Lake Exploration Platform." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.28.
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The Great Salt Lake Exploration Platform is a creative machine built to foster visual and performative research within the vastly under explored situated locale of the Great Salt Lake. GLSEP is a modular, flexibly deployable craft for a small group of people to remain upon the lake for limited durations of time, make work, and not die. Given the remote severity of this landscape the qualifier is significant. Storms appear quickly and can generate ten to twelve foot waves in tight oscillation. Coupled with the water’schemical density the lake is known to literally tear boats apart. Rather than being built and powered as a boat, with need of a marina to launch and a geometry to accommodate overland travel, the GSLEP is a deployable assembly providing necessary life support and research infrastructure (shade, fresh water, food and waste storage, solar power, communications,and evacuation provisions) to researchers operating on the Great Salt Lake, akin to off planet missions with immanent dangers and very limited rescue opportunities.
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Hosseini-Eckhardt, Nushin, and Leicy Esperanza Valenzuela Retamal. "RADICAL PRESENT AND REFLEXIVE CONNECTIONS. DIDACTICAL APPROACHES TO ALIENATED SPACES." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end150.
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Our starting position is the observation of disappearing public spaces and due to that an increasing alienation in social structures (the global pandemic situation having accelerated this). From two different fields of pedagogy (philosophy of education and performative arts) we aim to set up didactical approaches that give a counterbalance to those tendencies. Especially growing possibilities and challenges of digital formats lead us to a pedagogy of the “Radical Present“. On the basis of our previous theoretical research and practical work in schools and workshops we want to discuss and apply concepts and methods of “Reflexive Connections“ and „Whole-Body-Performances“ as ways of initiating experiences in pedagogical settings. Anyone who shares the interest of finding ways of connection as a joint democratic idea is welcome to participate e.g. teachers, graduate students, masters or doctoral students, researchers and others (8-12).
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de Almeida, Catherine. "Thermal Worlds: Redefining Spatial Thresholds With Temperature in the Geothermal Landscape." In 105th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.am.105.14.
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Space is typically demarcated by its physical boundaries. The solidity of wall, ceiling and floor define architectural interiors. Space in the landscape, though structurally similar, is bounded by larger-scale material conditions, such as tree canopies, horizon, sky, and ground. How can architectural space be defined without architectural materials? As a proposal for the use of temperature as a space-making material for design, this design research project draws from philosophy and phenomenology to understand the body as an instrument for sensory experience. Architectural case studies are used to redefine the notion of physical, visually perceived space and ways intangible experiences are at the forefront of a design. It investigates how the manipulation of geothermal water can unlock the performative, ephemeral, and experiential characteristics of temperature as a material for redefining spatial thresholds within the geothermal landscape of Iceland.
Reports on the topic "PERFORMATIVE RESEARC"
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Moawad, Lise, and Cornelia Schendzielorz. Transformative R&I policies and their norm(alis)ing effect of societal impact. Fteval - Austrian Platform for Research and Technology Policy Evaluation, 2022. http://dx.doi.org/10.22163/fteval.2022.545.
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In 2014, UK higher education institutions implemented a new system for assessing the quality of research, the Research Excellence Framework (REF) and took the opportunity to introduce "impact beyond academia" as a 'new' assessment criterion. Transformation and innovation-oriented R&I policy are roughly similar in Norway and the Netherlands regarding underlying ideas as well as timing. In occasion of this convergence this article tackles the discursive and performative construction of “societal impact” as a metamorphic constantly changing, transforming, and evolving criterion. Using data from policy documents from the UK, the Netherlands, and Norway from 2014 until now, the comparative semantic analysis draws on theories of speech acts and performativity to reveal the dual effect (normalising and norming) of the discursive device by R&I policymakers. The resulting typology, based on four criteria (terminology, positive and negative valences, oikonomia of knowledge and policy slogan), sets the ground for the exploration of further dimensions of societal impact evaluation challenges.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.686088.
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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.