Ivar Roban Krizic – Improvised music and electro–acoustic extensions

The dissertation project deals with improvised music through its performance-related aspects, digital extensions and fields of knowledge that provide a theoretical foundation for these practices – cultural anthropology, aesthetics and gender studies. Through this process of exploration, a body of work will be created that questions the boundaries between art and academia and in turn generates new modes of improvisational knowledge and methods of expression. The aim of this research is to advance the development of a theoretical framework that will aid in the progress of legitimizing improvisational practices both in the performative and in the academic sense.

Ivar Roban Krizic (*1990), Zagreb. MA in Double Bass at the Jazz Department in Graz. Award winning soloist and sideman active in a wide variety of international projects ranging from contemporary jazz to experimental music. Professional improviser.

Supervisors: Tasos Zembylas, Thomas Grill, Peter Herbert, Burkhard Stangl

Karl Salzmann – To Start from Scratch

In the project To Start from Scratch the record player is used as an apparatus and a starting point for further investigations. To Start from Scratch is therefore both a title and a method.

 

The project is currently divided into three sub-areas: while at the beginning of the project the focus was on researching and re-evaluating historical facts about modifications and performance practices with the gramophone (including Hindemith, Toch, Moholy-Nagy), over time the focus shifted to observing contemporary artistic practice with the medium of the record player. Through a variety of experimental settings, both installative and performative in nature, I have been able to carry out autoethnographic research as well as phenomenological investigations into the practice of other artists working with the turntable. Another area of the research, which is also an essential component of all the previous sub-areas, is the materiality of sound. Here, the materials of the recording media (including PVC and shellac) are at the focus of a critical examination of their economic and ecological aspects.

 

The materiality as well as the apparatus and the artistic practices are always considered and examined as relational in the project. I use strategies such as participant observation, autobiographical narration and dense description. In order to convey the content – especially that of materiality in the sense of auditory information, the reflection and documentation of the project is conceived in the form of audio-papers, sculptural and audio-visual objects, among other things.

 

Supervisors: Hans Schabus, Thomas Grill, Annegret Huber, Alexander Damianisch