Using a ‘performer-centric’ working method, artistic researchers Joel Diegert and Adrián Artacho investigate the potential of integrating the saxophone with real-time electronics. The musical work, 'aubiome', is used as a case study to demonstrate their collaborative co-creative approach. The six-stage, iterative working process that emerged during the aubiome project is broken down and described in detail.

The A∴418 is a method for the systematization of the interpretative musical conception, oriented to the study of musical interpretation. Through the application of two analysis techniques, the researcher demonstrates the expressive idealization and the respective technical configurations of the sound narrative that he builds, as an interpreter, from the original musical text of the composer. At the end, a final score is produced in which both the composer and interpreter’s details appear.

This exposition combines image, text, and video to provide an overview of my artistic research, which focuses on the embodied experience of art-making in relation to the everyday. Equipped with the notions of a line and a circle, I explore the connections and overlaps between art and life through a multi-disciplinary art practice that combines installation, sculpture, drawing, performance, and video, and merges this with everyday experiences, mainly cleaning, one of the more mundane aspects of everyday life. In this work, I am accompanied by three imaginary friends, who are also artists.

In this exposition, we describe a ‘speculative fabulation’ on communication with birds. A device was built that ‘listens’ to birdsong and translates this into human speech utilising the obscure musical language Solresol (François Sudre, 1866). Birdsong is analysed and converted into musical notes (one octave in the scale of C Major: do-re-me-fa-sol-la-ti). These seven notes are grouped to form four-note ‘words’ that are looked-up in the Solresol-English dictionary. Each note also has a rainbow colour assigned to it.

What happens to a person’s inner and outer world when no medical procedure is able to (further) decipher the origin of an ongoing perceived pain? When pain becomes an independent clinical picture called 'chronic pain'? In a series of dialogues with pain patients and specialists, I investigate in this study – as an artist as well as someone who remembers an episode of chronic pain – how chronic pain influences and changes lives and what space it takes in the lives of people affected and those providing treatment.

The COVID pandemic has prompted many people to reconsider their previous living and working rhythms and to consider alternatives. We believe that the global enslavement to the standardised time of clocks and calendars has had a negative impact on us individually, socially, and environmentally. We aim, therefore, to change perceptions of time by helping people step outside societal time, treating time instead as a malleable material that can be stretched and moulded.

Esta exposición reconoce el “Vox Spatium” a través del estudio comparativo de espacios acústicos y su reacción a un impulso sonoro (IR). La investigación artística nace de dos instancias creativas: una residencia en la Base de Artes Sonoras Experimentales TSONAMI Valparaíso, Chile (2019) y los estudios de campo del proyecto Espacios Resonantes (Balbontín-Klenner, 2019-2020) en Bélgica, Escocia y España. Ambas experiencias se desenvolvieron a modo de deriva-expedición, desde la exploración sonora en búsqueda de las acústicas del espacio urbano y arquitectónico.