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.

O A∴418 é um método de sistematização da conceção musical interpretativa, orientado para o estudo da interpretação musical. Através da aplicação de duas técnicas de análise, o investigador demonstra as idealizações expressivas e as respetivas configurações técnicas da narrativa sonora que constrói, na qualidade de intérprete, a partir do texto musical original do compositor. Consequentemente, é produzida uma partitura final na qual constam ambas as indicações do compositor e do intérprete.

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.

Was passiert mit der inneren und äusseren Welt eines Menschen, wenn kein medizinisches Verfahren den Ursprung des erlebten Schmerzes (mehr) zu entziffern vermag? Wenn der Schmerz zum eigenständigen Krankheitsbild 'Chronischer Schmerz' geworden ist? In einer Dialogserie mit Schmerzpatient*innen und Schmerzspezialist*innen erforsche ich in dieser Untersuchung – als Künstlerin und Schmerzerinnernde –, wie chronische Schmerzen das Leben beeinflussen, verändern und welchen Raum sie im Leben der betroffenen und behandelnden Menschen einnehmen.

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.