{"id":667,"date":"2020-12-01T08:36:14","date_gmt":"2020-12-01T08:36:14","guid":{"rendered":"https:\/\/www.mdw.ac.at\/ar_center\/?page_id=667"},"modified":"2025-03-25T09:44:45","modified_gmt":"2025-03-25T09:44:45","slug":"past-projects","status":"publish","type":"page","link":"https:\/\/www.mdw.ac.at\/ar_center\/past-projects\/","title":{"rendered":"Past projects"},"content":{"rendered":"<p>[vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69d843 { opacity: 1; }#ut_am_wrap_69d7afd69d844 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69d844 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69d844 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69d844 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69d844 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69d844\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69d845\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69d843\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/08\/Atlas-of-Smooth-Spaces-325x217.png\" width=\"325\" height=\"217\" alt=\"\"\/><\/div><div data-image-caption class=\"ut-image-gallery-image-caption\"><div class=\"ut-image-gallery-item-caption-title\"><h3>credits: atlas of smooth spaces<\/h3><\/div><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69d8a6 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69d8a6 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69d8a6 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69d8a6 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69d8a6 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69d8a6 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69d8a6\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Atlas of Smooth Spaces (PEEK project)<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\">Atlas of Smooth Spaces &#8211; Notating, Communicating and Composing Spaces in Audio-Corporeal Practices<\/p>\n<p>&nbsp;<\/p>\n<ol>\n<li>Theoretical framework<\/li>\n<\/ol>\n<p>In this artistic research project we explore how to notate, communicate and compose space phenomena across audio-corporeal artistic practices. We investigate these in four disciplines: Dance, Rhythmics, Choir Conducting and Direct Sound. They share an awareness for a certain tacit knowledge about space. In stark contrast to musical or movement notations, one finds that notated spaces are rather scarce in the audio-corporeal practices even though space unites them. We argue that this lacuna will be brigded by working on an atlas of space qualities. Rather than communicating merely the metric measures of spaces without the performer, we are concerned instead with emergent spatial qualities of smooth spaces that complement the performer, that exist outside of but not without the performer.<\/p>\n<p>&nbsp;<\/p>\n<ol start=\"2\">\n<li>Hypotheses \/ Research questions \/ Objectives<\/li>\n<\/ol>\n<p>We will compare and contrast each of the four disciplines with one another to investigate how to intensify spatial phenomena, how to translate and communicate them, how to appropriate them for ones own practice and how to engage into mutual composition. We inquire about the kinetic spheres of two performers when a third one enters. Similar to the three-body problem in physics we seek to describe this emergent phenomena. How can the complexified spatial interactions of the kinespheres be notated? How saturated becomes the space, how fragmented, how synchronous?<\/p>\n<p>&nbsp;<\/p>\n<ol start=\"3\">\n<li>Approach \/Methods<\/li>\n<\/ol>\n<p>We conduct experiments during which a smooth space phenomenon is first distilled and condensed to a clear spatial expression. This we call the null-space. It is the starting point for our investigations and experiments, which are co-created in an iterative process by the performers and a complexity scientist. We foresee a recursive pipeline, that divides the work into individual, collision and co-production modes. We also foresee a role fluidity &#8211; performer, experimenter and documenter are not attached to individuals allowing for a change of perspective.<\/p>\n<p>&nbsp;<\/p>\n<ol start=\"4\">\n<li>Level of innovation<\/li>\n<\/ol>\n<p>Acknowledging the importance of spaces in the audio-corporeal arts we consider the development of transdisciplinary space practices and notations as our major innovation. Secondly we believe that the particular mode of collaboration between performers and a complexity scientist leads into new artistic methodologies. Thirdly we create a toolbox that refers to the intense qualities of audio-corporeal space articulations and enlargens the disciplinary range of compositional space factors for artistic productivity.<\/p>\n<p>&nbsp;<\/p>\n<ol start=\"5\">\n<li>Primary staff involved in the project<\/li>\n<\/ol>\n<p>University of Music and Performing Arts (mdw)<\/p>\n<p>Institute of Dance Arts \/ Anton Bruckner Private University Linz<\/p>\n<p>Complexity Science HUB Vienna<\/p>\n<p>Alphabetically: Rose Breuss (Dance), William Franck (Direct Sound), Johannes Hiemetsberger (Choir),<\/p>\n<p>Hanne Pilgrim (Rhythmics).<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/www.the-smooth.space\/\">http:\/\/www.the-smooth.space\/<\/a><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69dc2f { opacity: 1; }#ut_am_wrap_69d7afd69dc30 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69dc30 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69dc30 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69dc30 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69dc30 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69dc30\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69dc31\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69dc2f\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 239 167'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2023\/01\/Screen-2023-01-07-um-11.20.00.jpg\" width=\"239\" height=\"167\" alt=\"\"\/><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69dc73 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69dc73 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69dc73 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69dc73 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69dc73 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69dc73 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69dc73\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Symposium: ``Performing, Engaging, Knowing``<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\">In 2020, The ICTM Study Group on Applied Ethnomusicology, the Lucerne School of Music, the Department of Composition, Electroacoustics, and Tonmeister Education of mdw \u2013 University of Music and Performing Arts Vienna, and the Swiss Society for Ethnomusicology hosted a gathering with the same name of ethnomusicologists and artistic researchers in Lucerne, Switzerland, from 26 to 29 August 2020.<\/p>\n<p>The entire volume can be viewed on <a href=\"https:\/\/zenodo.org\/communities\/pek\">https:\/\/zenodo.org\/communities\/pek<\/a>, with link to the full-text\/video view and download of each paper\/video.<\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69dfc3 { opacity: 1; }#ut_am_wrap_69d7afd69dfc4 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69dfc4 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69dfc4 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69dfc4 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69dfc4 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69dfc4\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69dfc5\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69dfc3\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2022\/09\/PilotTamara-Kanfer-325x217.png\" width=\"325\" height=\"217\" alt=\"\"\/><\/div><div data-image-caption class=\"ut-image-gallery-image-caption\"><div class=\"ut-image-gallery-item-caption-title\"><h3>artwork: Tamara Kanfer<\/h3><\/div><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69e009 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e009 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e009 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e009 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e009 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69e009 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69e009\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Challenging the Theater of Memory. Yiddish Song beyond Kitsch and Stereotype \u2013 AR Pilot project<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\">Isabel Frey &amp; Benjy Fox-Rosen, <em>Music and Minorities Research Center<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>The project \u201cChallenging the Theater of Memory. Yiddish Song beyond Kitsch and Stereotype\u201d attempts to explore and deconstruct the ways that Jewishness is portrayed and embodied in the performance of Yiddish song through ethnographic research and musical performance.<\/p>\n<p>In Germany and in Austria, there are scores of expectations regarding performer, repertoire and the type of Jew represented on stage. Sociologist Michal Y. Bodemann has called this phenomenon, in which Jewish participation in public life fulfills a role on the German post-Nazi national narrative, the Theater of Memory (Bodemann 1996). In the Theater of Memory the diversity and complexity of Jewish life is instrumentalized and reduced to a supporting role in the German or Austrian political narrative. The performance of Yiddish song and more broadly the cultural heritage of Ashkenazi Jews, are not exempt from this phenomenon. Often Yiddish culture and music is portrayed through the nostalgic tropes of traditional shtetl life, stereotypical images of \u201c<em>Ostjuden\u201d<\/em> and the destruction of the Shoah. Such performances of Yiddish music often reinforce hegemonic narratives rather than creating empowerment for Jewish minorities in Germany and Austria.<\/p>\n<p>In this artistic research project Yiddish musicians and researchers Isabel Frey and Benjy Fox-Rosen reflect on their attempts to challenge the Theater of Memory in their artistic practice. Drawing from their experience of past performances, theory from both performance and Jewish studies as well as ethnomusicology, they develop an artistic performance which weaves together music, texts and visuals. This performance is situated at the center of this artistic research project; it will be presented in multiple settings, and to diverse audiences. The project will be documented through auto-ethnographic (see Bartleet 2021) research methods and audio\/visual recordings, published in the Research Catalogue. The final goal of the project is to complete an application for the PEEK program of the FWF in Spring 2023 that will build on and expand upon the topics explored in the present pilot project.<\/p>\n<div dir=\"auto\"><\/div>\n<p>&nbsp;<\/p>\n<p>Bartleet, Brydie-Leigh. \u201cArtistic Autoethnography: Exploring the Interface between Autoethnography and Artistic Research.\u201d In <em>Handbook of Autoethnography<\/em>, edited by Tony E. Adams, Stacy Holman Jones and Carolyn Ellis, pp. 133-145. New York: Routledge, 2021.<\/p>\n<p>Bodemann, Y. Michal. <em>Ged\u00e4chtnistheater: die j\u00fcdische Gemeinschaft und ihre deutsche Erfindung<\/em>. Hamburg: Rotbuch-Verlag., 1996.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/musicandminorities.org\/projekte\/challenging-the-theater-of-memory\/\">https:\/\/musicandminorities.org\/projekte\/challenging-the-theater-of-memory\/<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Benjy Fox-Rosen<\/strong> (Los Angeles, 1984) is a musician and researcher based in Vienna, Austria. He is the conductor of the Vienna Stadttempel Choir accompanying Cantor Shmuel Barzilai weekly. As a singer and bass player, Fox-Rosen has performed at Celebrate Brooklyn (USA), the Chicago World Music Festival (USA), Wiener Festwochen (AU), and Krakow Jewish Festival (PL) as well as many other festivals and venues throughout the Americas and Europe. He has taught workshops at the New England Conservatory, Tufts University, the University of Performing Arts Vienna (mdw) and other institutions. As a composer, Fox-Rosen has been commissioned to write works for choirs, artistic interventions, and audio-installations. He has produced three recordings of his own music, two of which were recognized by the <em>Forward<\/em> in the top-five Jewish music album of the year category.<\/p>\n<p>&nbsp;<\/p>\n<p>Fox-Rosen is currently finishing his Masters thesis on the musical practice of the choir of the Stadttempel synagogue at the Institute for Musicology of the University of Vienna. This project uses ethnographic research methods to address questions of musical change, meaning and continuity. Fox-Rosen has also published scholarly reflections on his own artistic practice, focusing on questions of translation in the performance of Yiddish song, particularly in the German speaking world.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Isabel Frey <\/strong>is a Yiddish singer and PhD candidate in the Structured Doctoral Program \u201cMusic Matters\u201d at the <em>University of Music and Performing Arts Vienna. <\/em>She has a background in medical anthropology and sociology, a field that she has also published peer-reviewed articles in. Her current research deals with the politics of Yiddish folksong, the practices of oral transmission and the current developments in creating new Yiddish songs. Her project combines her passion for Yiddish music with the anthropology of the voice and the body and ethnomusicological minority research. It is located between the disciplines of ethnomusicology, cultural studies and gender studies, but also draws on theories from Jewish, Yiddish and diaspora studies. In her PhD project, she also combines her artistic work with her research, conducting ethnographic fieldwork in Yiddish music workshops and master classes that she also received artistic scholarships for. The artistic research pilot project \u201cChallenging the Theater of Memory. Yiddish Song beyond Kitsch and Stereotype\u201d is a further step in this direction to link research with artistic practice.<\/p>\n<p><em>\u00a0<\/em><\/p>\n<p>As a performer, Isabel Frey specializes in Yiddish revolutionary songs and continuing the tradition of Jewish social justice activism both on stages and at political protests. She regularly performs Yiddish music either as a soloist, in the duo <em>Soveles<\/em> or with the Isabel Frey Trio. She has performed at various international festivals and venues, such as the KlezMORE Festival Bratislava, the Singera Festival in Warsaw or the Willy Brandt Center in Jerusalem. In September 2020 she released her debut album \u201cMillenial Bundist\u201d with Yiddish revolutionary and resistance songs. For the time period of 2023\/2024 she has been selected for the New Sound of Austrian Music (NASOM) support program by the Austrian foreign ministry. She has also been interviewed and featured by national and international media such as radio \u00d61, ORF2, Deutschlandfunk, <em>Ha\u2019aretz <\/em>or <em>InGeveb<\/em>. Additionally, she is the founder and general secretary of the Yiddish cultural association \u201cFriling.\u201d<\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69e392 { opacity: 1; }#ut_am_wrap_69d7afd69e393 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69e393 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69e393 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69e393 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69e393 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69e393\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69e394\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69e392\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/post-1_image0-5-1240x540-2-325x217.jpg\" width=\"325\" height=\"217\" alt=\"creative (mis)understandings\"\/><\/div><div data-image-caption class=\"ut-image-gallery-image-caption\"><div class=\"ut-image-gallery-item-caption-title\"><h3>credits: Wolfgang Liebhart 2019<\/h3><\/div><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69e3d7 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e3d7 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e3d7 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e3d7 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e3d7 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69e3d7 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69e3d7\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Creative (Mis)Understandings (PEEK project)<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\"><\/p>\n<div class=\"tool tool-simpletext scrollbar-auto\" data-id=\"776616\" data-source=\"776616\" data-locked=\"0\" data-editable=\"0\" data-tool=\"simpletext\" data-title=\"\" data-date=\"\" data-options=\"&#091;&#093;\" data-rotate=\"0\" data-popover=\"\" data-popover-options=\"&#091;&#093;\">\n<div class=\"tool-content\">This project is a project of artistic research funded by the PEEK (Programme for Arts-based Research) funding program, managed by the Austrian Science Fund (FWF, AR 463-G24). It aims to develop transcultural approaches of <em>inspiration<\/em>\u00a0(which we regard as\u00a0<em>mutually appreciated intentional and reciprocal artistic influence based on solidarity)<\/em>\u00a0by combining approaches from contemporary music composition and improvisation with ethnomusicological and sociological research. We encourage\u00a0<em>creative (mis)understandings<\/em>\u00a0emerging from the interaction between research and artistic practice, and between European art music, folk and non-western styles, in particular from indigenous minorities in Taiwan. Both comprehension and incomprehension yield serendipity and inspiration for new research questions, innovative artistic creation, and applied follow-ups among non-western communities.<\/div>\n<\/div>\n<div class=\"tool tool-simpletext scrollbar-never\" data-id=\"771461\" data-source=\"\" data-locked=\"0\" data-editable=\"0\" data-tool=\"simpletext\" data-title=\"\" data-date=\"\" data-options=\"&#091;&#093;\" data-rotate=\"0\" data-popover=\"\" data-popover-options=\"&#091;&#093;\">\n<div class=\"tool-content\">\n<p>The project departs from two premises: first, that contemporary western art music as a practice often tends to resort to certain degrees of elitism; and second, that non-western musical knowledge is often either ignored or merely exploited when it comes to compositional inspiration. We do not regard inspiration as unidirectional, an \u201cinput\u201d like recording or downloading material for artistic use. Instead, we foster artistic interaction by promoting dialogical and distributed knowledge production in musical encounters. Developing inter\u00addisciplinary and transcultural methodologies of musical creation will contribute on the one hand towards opening up the\u2014rightly or wrongly supposed\u2014\u201civory tower of contemporary composition\u201d, and on the other hand will contribute towards the recognition of the artistic value of non-western musical practices. By highlighting the reciprocal nature of inspiration,\u00a0<em>creative (mis)understandings<\/em>\u00a0will result in socially relevant and innovative methodologies for creating and disseminating music with meaning.<\/p>\n<p>The methods applied in the proposed project will start out from ethnographic evidence that people living in non-western or traditional societies often use methods of knowledge production within the sonic domain which are commonly unaddressed or even unknown among western contemporary music composers (aside from exotist or orientalistic appropriations of \u201cthe other\u201d).<\/p>\n<p>The project is designed in four stages:\u00a0<em>field research and interaction<\/em>\u00a0with indigenous communities in Taiwan with a focus on the Tao people on Lanyu Island,\u00a0<em>collaborative workshops<\/em>\u00a0in Vienna, an\u00a0<em>artistic research and training<\/em>\u00a0phase with invited indigenous Taiwanese coaches in Vienna, and\u00a0<em>feeding back to the field<\/em>\u00a0in Taiwan. During all these stages, exchange and coordination between composers, music makers, scholars and source community experts will be essential in order to reflect not only on the creative process, but also to analyse and support strong interaction between creation and society. Re-interaction with source communities as well as\u00a0<em>audience participation<\/em>\u00a0in the widest sense will help to increase the social relevance of the artistic results.<\/p>\n<p>The University of Music and Performing Arts Vienna (MDW) will host the project. The contributors are Johannes Kretz (project leader) and Wei-Ya Lin (project co-leader, senior researcher) with their team of seven composers, ten artistic research partners from Taiwan and six artistic and academic consultants with extensive experience in the relevant fields.<\/p>\n<p><a href=\"https:\/\/www.mdw.ac.at\/creativemisunderstandings\/\">www.mdw.ac.at\/creativemisunderstandings<\/a><\/p>\n<\/div>\n<\/div>\n<p><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69e757 { opacity: 1; }#ut_am_wrap_69d7afd69e758 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69e758 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69e758 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69e758 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69e758 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69e758\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69e759\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69e757\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/auditorium-tobias-1024x768-1-325x217.jpg\" width=\"325\" height=\"217\" alt=\"\"\/><\/div><div data-image-caption class=\"ut-image-gallery-image-caption\"><div class=\"ut-image-gallery-item-caption-title\"><h3>credits: Tobias Leibetseder<\/h3><\/div><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69e79d .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e79d .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e79d .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e79d .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69e79d .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69e79d .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69e79d\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Rotting Sounds - Embracing the temporal deterioration of digital audio (PEEK project)<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\"><\/p>\n<p class=\"p1\"><span class=\"s1\">Most of today\u2019s media output, be it audio or video, is produced and stored in the digital domain. Although digital data are adorned by the myth of lossless transmission and migration, everyday experience does prove the existence of degradation and, ultimately, data loss in various forms. This pertains to the physical nature of storage media and playback devices as well as to media formats and software in the context of their technological infrastructure. The project strives to elaborate on the causes, mechanisms and effects of such deterioration, specifically in the context of digital audio.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Since degradation cannot be avoided on principle, it is our general aim to unearth latent degrees of freedom pertaining to the artistic practice in the omnipresence of decay.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">How can degradation effects be understood, actuated, reproduced, directed and harnessed within sound art? Which are the mechanisms and implications of obsolescence concerning hard- and software? How can we model the process of decay in the digital domain, and what are its products and residues? What is the impact of the environment and human interaction? To which extent are artworks products of their material sources or their symptoms of decay?<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/rottingsounds.org\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/rottingsounds.org<\/a><\/p>\n<p><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69eaf9 { opacity: 1; }#ut_am_wrap_69d7afd69eafa .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69eafa .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69eafa { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69eafa { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69eafa { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69eafa\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69eafb\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69eaf9\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/04\/hands_creditsAdrian-ArtachoHanne-Pilgrim-1-325x217.png\" width=\"325\" height=\"217\" alt=\"creditsAdri\u00e1n ArtachoHanne Pilgrim\"\/><\/div><div data-image-caption class=\"ut-image-gallery-image-caption\"><div class=\"ut-image-gallery-item-caption-title\"><h3>credits: Adri\u00e1n Artacho, Hanne Pilgrim<\/h3><\/div><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69eb3a .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69eb3a .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69eb3a .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69eb3a .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69eb3a .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69eb3a .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69eb3a\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Social D(ist)ancing \u2013 AR Pilot Project<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\">The development of a networked artistic practice out of confinement whose aim is to develop effective tools and strategies for networked co-creation. Led by Rhythmics Prof. Hanne Pilgrim and researcher Adri\u00e1n Artacho, the project started in September 2020 with six graduate rhythmics students as participants, dance scholar Mariama Diagne, and the support of the Artistic Research Center (ARC) of the University of Music and Performing Arts Vienna. Structured around six case studies \u2013each featuring a different mode of intermedial transformation\u2013 and making only use of freely available software as a principle, the project has so far yielded useful insights on the limitations of the medium, while at the same time raising questions about networked artistic practice: In which ways \u2014if any\u2014 can \u201dvirtual rehearsals\u201d\u00a0 be thought of as equivalent to traditional (co-located) ones? What is unique about this mode of collaboration that is relevant for artistic practice? In which ways does this circumstance determine the artistic output? and most crucially, how can the limitations of the medium be reframed to add value to the rhythmics practice?<\/p>\n<p>project blog: <a href=\"https:\/\/sociald-ist-ancing.blogspot.com\/p\/pilot.html\" target=\"_blank\" rel=\"noopener noreferrer\">https:\/\/sociald-ist-ancing.blogspot.com\/p\/pilot.html<\/a><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69ee58 { opacity: 1; }#ut_am_wrap_69d7afd69ee59 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69ee59 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69ee59 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69ee59 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69ee59 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69ee59\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69ee5a\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69ee58\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/04\/IMAGE_3-1-325x217.jpeg\" width=\"325\" height=\"217\" alt=\"credits: Ioana Tarchila\"\/><\/div><div data-image-caption class=\"ut-image-gallery-image-caption\"><div class=\"ut-image-gallery-item-caption-title\"><h3>credits: Ioana Tarchila<\/h3><\/div><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69ee98 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69ee98 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69ee98 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69ee98 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69ee98 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69ee98 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69ee98\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">RAD Performance \u2013 AR Pilot Project<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\"><strong>Sonic Environment &amp; Performance &#8211; a choral movement with mobile loudspeakers<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>RAD Performance places concerts and sound art on bicycles, in motion and with a multitude of loudspeakers at the centre of artistic research. Under the artistic guidance of Conny Zenk, the project started in July 2020 as an Artistic Research Pilot at the University of Music and Performing Arts Vienna. Based on historical drawings and approaches to participatory, bicycle-related forms of play (Reigenfahren u. Radfahr-Spiele by Josef Adametz, Vienna: Kreisel u. Gr\u00f6ger, 1901), the artistic team (Petra Sturm, Veronika Mayer, Rahel Kraft and Conny Zenk) is developing a choreography for cyclists, as well as graphic notations for musicians as the basis for 6-channel compositions. RAD performers will perform in public spaces using mobile loudspeakers on their bicycles. The acoustic, urban space complements, overlays and expands the electronic composition. At the crossroads of concert, performance and sound art, the bicycle becomes an artistic medium.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"http:\/\/radperformance.at\">radperformance.at<\/a><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69f1b4 { opacity: 1; }#ut_am_wrap_69d7afd69f1b5 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69f1b5 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69f1b5 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69f1b5 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69f1b5 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69f1b5\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69f1b6\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69f1b4\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/04\/Mobile-Bu\u0308hne_2021-foto-1-325x217.jpg\" width=\"325\" height=\"217\" alt=\"\"\/><\/div><div data-image-caption class=\"ut-image-gallery-image-caption\"><div class=\"ut-image-gallery-item-caption-title\"><h3>credits: Felix Huber<\/h3><\/div><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69f204 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f204 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f204 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f204 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f204 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69f204 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69f204\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Mobile Stage \u2013 AR Pilot Project<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\"><\/p>\n<div id=\"e20116\" class=\"element element-text g12_12 element-1\">\n<div id=\"GroupWiseSection_1613988488000_feyertag@mdw.ac.at_D708C6010F400000AD646F7863623934_\" class=\"GroupWiseMessageBody active\"><\/div>\n<\/div>\n<p>The Mobile Stage project is the result of a collaboration with Alba Rastl (design), Chiara Bartl-Salvi (performance), Paul Ebhart (sound artist), Felix Huber and Arno Gitschthaler (mechanical engineering). Based on our di\ufb00erent artistic practices, we have already been able to realise and present works in previous joint projects. From these experiences, recurring \ufb01elds of interest have formed, which continue in the current work.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Concept<\/strong><\/p>\n<p>The interdisciplinary project with the working title &#8220;&#8216;Mobile Stage'&#8221; combines di\ufb00erent components and aspects of classical theatre, such as stage design, performance, sound, and the relationship between viewers and performers. It is a rotating stage that serves both as a performance space and as a sound installation and has been designed that it can be used for various external projects. The work is based on the idea of an inclusive public space and performance as an integral part of everyday public life and sees this as a prerequisite. The inclusion of the environment in this stage body is a central point in the individual disciplines. It has an in\ufb02uence on performance, sound and stage design. So we wanted to make the public space our space of action. Building on the stage body, we become part of the place, transforming and expanding the action space into a stage moment.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Design<\/strong><\/p>\n<p>In the design, the centre of movement forms a metal tube around which a stage surface moves and rotates the surface moves both on its own axis and up and down in a helical motion. This creates di\ufb00erent height ratios and spaces in between.<\/p>\n<p>Independency<\/p>\n<p>Through the institutional independence of the performance space, the project stands for an open space of experience and deliberately opposes the categorised ascribed social classes of the viewing audience. The round shape is supposed to dissolute the classical frontal perception so each viewing side is equal.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Stage design<\/strong><\/p>\n<p>The rotating stage was designed to be able to change between scenes as quickly as possible. One starting point was the inclusion of the revolving stage as a basic element of movement to which the performers are exposed. Questions of proprioception in relation to moving surfaces come up. How does the body react, how do movements change?<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Performative<\/strong><\/p>\n<p>New choreographies are tested by means of the stage project. The rotating movement of the platform simulates the dancers&#8217; proprioception and dissolves their basic motor skills. New possibilities in movement material and self-perception are developed.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Proprioception &#8211; The 6th sense<\/strong><\/p>\n<p>Proprioception is the perception of the position of one&#8217;s own body in space, including the sensation of weight, tension, strength and speed. It is no organ of its own and operates invisibly deep inside the body. Its a product of all the nerve stimuli that our brain constantly receives, especially from muscles and tendons. Proprioception is also about internal sensations that are di\ufb03cult to recreate. The 6th sense arises from the interaction between our body and our environment, it accompanies us consciously and unconsciously. At a time when our body is being used less and less and is being paralysed due to increasingly sedentary activities, it is good to listen to our proprioception &#8211; both in our self-perception and in our interaction with our fellow human beings and our environment.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Synthesis<\/strong><\/p>\n<p>The Mobile Stage is meant to go to di\ufb00erent places to enable di\ufb00erent re\ufb02ections and happenings with its environment. The synthesis between the stage element\/sound sculpture\/installation and its environment\/surroundings\/environment as a central research topic on all levels. It is about the relationship between human and environment, as well as between sculpture and environment. (References to Anish Kappor or Dan Grahams&#8217; Octagon for M\u00fcnster)<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Sound<\/strong><\/p>\n<p>The inclusion of the environment in the object is also an essential point in sound design. The &#8220;sonic environment&#8221; described by Murray Schae\ufb00er serves as a central concept in dealing\u00a0 with sound. In<\/p>\n<p>the stage, this would be the soundscape, by which the stage is surrounded by. For the development of the piece itself, a soundtrack is planned that will mixed with the &#8220;sonic environment&#8221;. Modulating e\ufb00ects could be Informations won out of the movement from the stage or the performer. Here we would like to experiment and research. How can movement change sound?<\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69f54d { opacity: 1; }#ut_am_wrap_69d7afd69f54e .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69f54e .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69f54e { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69f54e { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69f54e { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69f54e\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69f54f\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69f54d\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/07\/Bildschirmfoto-2020-07-28-um-09.48.43-325x217.jpg\" width=\"325\" height=\"217\" alt=\"SAR Conference\"\/><\/div><div data-image-caption class=\"ut-image-gallery-image-caption\"><div class=\"ut-image-gallery-item-caption-title\"><h3>Ang\u00e9lica Castell\u00f3 - magnetic room<\/h3><\/div><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69f58f .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f58f .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f58f .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f58f .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f58f .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69f58f .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69f58f\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">12th SAR International Conference on Artistic Research hosted by mdw<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\"><\/p>\n<div id=\"e20116\" class=\"element element-text g12_12 element-1\">\n<div id=\"GroupWiseSection_1613988488000_feyertag@mdw.ac.at_D708C6010F400000AD646F7863623934_\" class=\"GroupWiseMessageBody active\">\n<div><\/div>\n<\/div>\n<\/div>\n<p class=\"p1\"><span class=\"s1\"><b>Hosted by mdw \u2013 University of Music and Performing Arts Vienna in cooperation with the Academy of Fine Arts Vienna and the University of Applied Arts Vienna<\/b><\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">Conference will be hosted as a live online event: from <b>7th to 9th April 2021<\/b>.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p class=\"p3\"><span class=\"s1\">Deadline for submissions via the Research Catalogue (RC): <b>30th Sept 2020<\/b>.<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">Deadline for registering as full users at the RC: Ten days earlier \u2013 <b>20th Sept 2020<\/b>.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p class=\"p3\"><span class=\"s1\">The 12th SAR International Conference on Artistic Research invites submissions that relates to the three attractors <b>dare<\/b>, <b>care<\/b>, and <b>share<\/b>.<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">It will be the first SAR conference organized as a live online event. We are calling for artistic researchers to present their work, processes, methods, discoveries, knowledge interventions, new insights, understandings, and to engage in exchange \u2013 in actions and words, in complex and simple, conventional and unconventional, robust and fragile ways.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p class=\"p3\"><span class=\"s1\">We encourage original contributions that take on the challenge of bringing liveness to this mediated online event. Each contribution shall receive ample discussion time (in real time via video conference).<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">We will support the following presentation formats:<\/span><\/p>\n<ul class=\"ul1\">\n<li class=\"li3\"><span class=\"s1\">Presentation using preproduced material, which will be \u201cpresented\u201d and integrated in an interactive online conference;<\/span><\/li>\n<li class=\"li3\"><span class=\"s1\">Streamed live-performances\/demonstrations.<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p class=\"p3\"><span class=\"s1\">The conference website (including the detailed call and the link to the submission form at the RC) is now online: <a href=\"https:\/\/www.sar2021vienna.ac.at\" target=\"_blank\" rel=\"noopener\">https:\/\/www.sar2021vienna.ac.at<\/a><\/span><\/p>\n<p>Proceedings\/roof exposition:<\/p>\n<p><a href=\"https:\/\/www.researchcatalogue.net\/view\/1572726\/1572727\" target=\"_blank\" rel=\"noopener\">https:\/\/www.researchcatalogue.net\/view\/1572726\/1572727<\/a><\/p>\n<p><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69f8f6 { opacity: 1; }#ut_am_wrap_69d7afd69f8f7 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69f8f7 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69f8f7 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69f8f7 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69f8f7 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69f8f7\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69f8f8\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69f8f6\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/02\/castsello_magnetic-room_copyright_noid-e1614240162668-325x217.png\" width=\"325\" height=\"217\" alt=\"\"\/><\/div><div data-image-caption class=\"ut-image-gallery-image-caption\"><div class=\"ut-image-gallery-item-caption-title\"><h3>Ang\u00e9lica Castell\u00f3 - magnetic room<\/h3><\/div><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69f939 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f939 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f939 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f939 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69f939 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69f939 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69f939\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Book presentation - Knowing in Performing, 16 March 2021<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\"><\/p>\n<div id=\"e20116\" class=\"element element-text g12_12 element-1\">\n<div id=\"GroupWiseSection_1613988488000_feyertag@mdw.ac.at_D708C6010F400000AD646F7863623934_\" class=\"GroupWiseMessageBody active\">\n<div>\n<p><strong>Knowing in Performing. Artistic Research in Music and the Performing Arts<\/strong><\/p>\n<p>This anthology takes stock of current developments in and reflections on artistic research in music and the performing arts. Thirteen international contributions explore the possibilities of processual knowledge production, taking into account participatory and experimental approaches, and examine their institutional implementation. How can performing be transformed into cognition? What does it mean to think through music, theatre, or dance?<\/p>\n<p>The anthology published by Annegret Huber, Doris Ingrisch, Therese Kaufmann, Johannes Kretz, Gesine Schr\u00f6der and Tasos Zembylas with transcript is based on contributions to the symposium &#8220;Knowing in Performing&#8221; in April 2018 as well as to the eponymous lecture series that took place at the mdw &#8211; University of Music and Performing Arts Vienna from 2018 to 2020. As part of the book presentation, the dancer, choreographer and artistic researcher Evfa Lilja will read excerpts from her opening statement on the state of artistic research.<\/p>\n<p>&nbsp;<\/p>\n<p>Free entrance<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"e20119\" class=\"element element-text g12_12 element-1\">\n<p>PROGRAMME (times are approximate)<br \/>\n<strong>4.15-4.30 pm<\/strong>: Open waiting room, Arrival time<br \/>\n<strong>4.30-4.45 pm<\/strong>: Welcome &amp; general presentation<br \/>\n<strong>4.45-5.00 pm<\/strong>: Short lecture by <a href=\"https:\/\/www.mdw.ac.at\/zfw\/vortragende\/lilja-efva\/\" target=\"_blank\" rel=\"noopener\">Efva Lilja<\/a> (Sweden)<br \/>\n<strong>5.00-5.15 pm<\/strong>: Presentation of the book contributions<br \/>\n<strong>5.15-5.30 pm<\/strong>: General outlook on artistic research at art universities<br \/>\n<strong>5.30-6.00 pm<\/strong>: Discussion<\/p>\n<\/div>\n<p>The event is a cooperation of the ARC &#8211; Artistic Research Center and mdw&#8217;s <a href=\"https:\/\/www.mdw.ac.at\/forschungsfoerderung\/artistic-research\/book\/\">Research Support Office<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<div id=\"e20117\" class=\"element element-text g12_12 element-1\">\n<p>Organisation &amp; Contact:<\/p>\n<p>Karoline Feyertag, Research Support<br \/>\n<a href=\"mailto:feyertag@mdw.ac.at\" rel=\"noopener\">feyertag@mdw.ac.at<\/a><\/p>\n<p>Theresa Dlouhy-Staber, ARC &#8211; Artistic Research Center<br \/>\n<a href=\"mailto:dlouhy-staber@mdw.ac.at\" rel=\"noopener\">dlouhy-staber@mdw.ac.at<\/a><\/p>\n<\/div>\n<p><em>cover image: Angelic\u00e1 Castell\u00f3 &#8211; magnetic room<\/em><\/p>\n<p>&nbsp;<\/p>\n<div id=\"e20115\" class=\"element element-text g12_12 element-1\">\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone wp-image-887\" src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/03\/Buchcover-Knowing-in-Performing.jpg\" alt=\"\" width=\"354\" height=\"538\" srcset=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/03\/Buchcover-Knowing-in-Performing.jpg 2400w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/03\/Buchcover-Knowing-in-Performing-768x1167.jpg 768w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/03\/Buchcover-Knowing-in-Performing-1011x1536.jpg 1011w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/03\/Buchcover-Knowing-in-Performing-1347x2048.jpg 1347w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2021\/03\/Buchcover-Knowing-in-Performing-474x720.jpg 474w\" sizes=\"(max-width: 354px) 100vw, 354px\" \/><\/p>\n<\/div>\n<p><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69fc78 { opacity: 1; }#ut_am_wrap_69d7afd69fc79 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69fc79 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69fc79 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69fc79 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69fc79 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69fc79\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69fc7a\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69fc78\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/luciana3_credit-daniel-henry_sb-1200x800px_orig-1-325x217.jpg\" width=\"325\" height=\"217\" alt=\"luciana. credits: daniel-henry\"\/><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd69fcb9 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69fcb9 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69fcb9 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69fcb9 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd69fcb9 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd69fcb9 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd69fcb9\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Lecture Series ``Knowing in Performing``<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\"><\/p>\n<p class=\"p1\"><span class=\"s1\">The lecture series\u00a0 &#8220;Knowing in Performing&#8221; at mdw presented in two years the transdisciplinary dynamics of\u00a0 artistic research with special focus on music and performing arts.<\/span><\/p>\n<p class=\"p2\"><span class=\"s2\">Homepage of the lecture series: <a href=\"https:\/\/www.mdw.ac.at\/knowinginperforming_rvo\/\"><span class=\"s3\">&#8220;knowing in performing&#8221; 2018-2020<\/span><\/a><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Recordings of presentations at <a href=\"https:\/\/mediathek.mdw.ac.at\/knowing-in-performing\"><span class=\"s3\">Mediathek.<\/span><\/a><\/span><\/p>\n<p class=\"p3\"><span class=\"s1\"><b>Team<\/b><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Project team: Johannes Kretz, Therese Kaufmann, Susanne V. Granzer, Annegret Huber, Doris Ingrisch, Johannes Meissl, Gesine Schr\u00f6der, Tasos Zembylas<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Coordination: Karoline Feyertag<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Organisation: Slavom\u00edra Marti\u0161kov\u00e1<\/span><\/p>\n<p class=\"p2\"><span class=\"s2\">Contact &amp; Information: <a href=\"mailto:knowinginperforming@mdw.ac.at\"><span class=\"s3\">knowinginperforming@mdw.ac.at<\/span><\/a><\/span><\/p>\n<p><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd69ffd2 { opacity: 1; }#ut_am_wrap_69d7afd69ffd3 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd69ffd3 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd69ffd3 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd69ffd3 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd69ffd3 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd69ffd3\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd69ffd4\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd69ffd2\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 325 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/Symposium-knowing_in_performing_orig-1-325x217.png\" width=\"325\" height=\"217\" alt=\"Symposium Knowing in Performing, credits Martin Kaltenbrunner\"\/><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd6a0016 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd6a0016 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd6a0016 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd6a0016 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd6a0016 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd6a0016 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd6a0016\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">Symposium ``Knowing in Performing``<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\"><\/p>\n<p class=\"p1\"><span class=\"s1\">Artistic research as it has emerged and evolved over the last three decades is related to an increasing\u00a0<b>interest in epistemological questions<\/b>\u00a0as well as an interrogation of\u00a0<b>how artistic practices constitutively support and instigate processes of knowledge creation<\/b>. Art is thus being looked at both as an object and a medium of research, becoming part of a general discourse on knowledge regimes and research models.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The symposium investigated this dynamic, ever-renewing field of interrelations with a special focus on the performing arts. Highlighting the issue of various implementation models in curricula and study programmes in higher arts education, it critically analysed international institutional policies and facilitated an open debate on how to integrate current practices and discourses into future teaching and research structures.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">\u00a0<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>4 April 2018, 9.30 am \u2013 6.00 pm<\/b><br \/>\nFanny Hensel Hall<br \/>\nAnton-von-Webern-Platz 1<br \/>\n1030 Vienna<\/span><\/p>\n<p class=\"p2\"><span class=\"s2\"><a href=\"https:\/\/www.mdw.ac.at\/knowinginperforming\/\" target=\"_blank\" rel=\"noopener noreferrer\">Website of the Symposium<\/a><\/span><\/p>\n<p class=\"p2\"><span class=\"s2\"><a href=\"https:\/\/www.mdw.ac.at\/upload\/mdwUNI\/files\/knowing_in_performing_folder.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Program<\/a><\/span><\/p>\n<div class=\"mceTemp\"><\/div>\n<div id=\"attachment_481\" style=\"width: 660px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-481\" decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-481\" src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_094404-650x433.jpg\" alt=\"\" width=\"650\" height=\"433\" srcset=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_094404-650x433.jpg 650w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_094404-325x217.jpg 325w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_094404-768x512.jpg 768w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_094404-1080x720.jpg 1080w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_094404.jpg 1200w\" sizes=\"(max-width: 650px) 100vw, 650px\" \/><p id=\"caption-attachment-481\" class=\"wp-caption-text\">Therese Kaufmann at Knowing in Performing, a symposium for the artistic science, at the MDW. Credits: Gerard Spee<\/p><\/div>\n<div id=\"attachment_482\" style=\"width: 660px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-482\" decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-482\" src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_093648-650x433.jpg\" alt=\"\" width=\"650\" height=\"433\" srcset=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_093648-650x433.jpg 650w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_093648-325x217.jpg 325w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_093648-768x512.jpg 768w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_093648-1080x720.jpg 1080w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_093648.jpg 1200w\" sizes=\"(max-width: 650px) 100vw, 650px\" \/><p id=\"caption-attachment-482\" class=\"wp-caption-text\">Rector Ulrike Sych at Knowing in Performing, a symposium for the artistic science, at the MDW. Credits: Gerard Spee<\/p><\/div>\n<div id=\"attachment_479\" style=\"width: 660px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-479\" decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-479\" src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_155039-650x433.jpg\" alt=\"\" width=\"650\" height=\"433\" srcset=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_155039-650x433.jpg 650w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_155039-325x217.jpg 325w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_155039-768x512.jpg 768w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_155039-1080x720.jpg 1080w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_155039.jpg 1200w\" sizes=\"(max-width: 650px) 100vw, 650px\" \/><p id=\"caption-attachment-479\" class=\"wp-caption-text\">Johannes Kretz and Wei-Ya Lin at Knowing in Performing, a symposium for the artistic science, at the MDW. Credits: Gerard Spee<\/p><\/div>\n<div id=\"attachment_480\" style=\"width: 660px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-480\" decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-480\" src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_160441-650x433.jpg\" alt=\"\" width=\"650\" height=\"433\" srcset=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_160441-650x433.jpg 650w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_160441-325x217.jpg 325w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_160441-768x512.jpg 768w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_160441-1080x720.jpg 1080w, https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/GJS81_20180404_160441.jpg 1200w\" sizes=\"(max-width: 650px) 100vw, 650px\" \/><p id=\"caption-attachment-480\" class=\"wp-caption-text\">Thomas Grill at Knowing in Performing, a symposium for the artistic science, at the MDW. Credits: Gerard Spee<\/p><\/div>\n<p><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd6a0440 { opacity: 1; }#ut_am_wrap_69d7afd6a0441 .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd6a0441 .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd6a0441 { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd6a0441 { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd6a0441 { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd6a0441\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd6a0442\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd6a0440\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 283 217'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/06\/quovadis_logo-1-283x217.jpg\" width=\"283\" height=\"217\" alt=\"quovadis_logo\"\/><\/div><\/a><\/div><\/div><\/div>[\/vc_column][vc_column width=&#8221;3\/4&#8243;]<div class=\"wpb_content_element \"><style type=\"text\/css\">#ut_accordion_69d7afd6a0480 .ut-accordion-module-item.open .ut-accordion-module-heading { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd6a0480 .ut-accordion-module-heading:hover { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd6a0480 .ut-accordion-module-heading:active { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd6a0480 .ut-accordion-module-heading:focus { color: rgba(62, 136, 179, 1) !important }#ut_accordion_69d7afd6a0480 .ut-accordion-module-item { border-top-style:solid; }#ut_accordion_69d7afd6a0480 .ut-accordion-module-item:last-child { border-top-style:solid; border-bottom-style:solid; }<\/style><div id=\"ut_accordion_69d7afd6a0480\" data-accordion-group class=\"ut-accordion-module ut-accordion-module-single  ut-accordion-module-with-border\"><div data-accordion data-accordion data-single data-transition=\"400\" data-easing=\"ease\" class=\"ut-accordion-module-item \"><h3 data-control class=\"ut-accordion-module-heading\" data-counter=\"1\">PEEK Project ``Quo Vadis Teufelsgeiger``<\/h3><div data-content class=\"ut-accordion-module-content\"><div class=\"ut-accordion-module-inner entry-content clearfix\">The arts-based-research project \u201eQuo vadis, Teufelsgeiger?\u201c (QvT) at mdw investigated over two years the effect of one&#8217;s own sound (improvisation) and own musical language\u00a0 (idiolectic) on the development of classical musicians.<\/p>\n<p>It was the first artistic research project at mdw, supported by FWF \/ <a class=\"type8\" href=\"http:\/\/www.fwf.ac.at\/de\/projects\/peek.html\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>PEEK<\/strong><\/a>.<\/p>\n<p><a href=\"http:\/\/www.quovadisteufelsgeiger.at\/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Website<\/a><\/div><\/div><\/div><\/div><\/div>[\/vc_column][\/vc_row][vc_row][vc_column]<div  class=\"wpb_content_element   clearfix\"><style type=\"text\/css\">#ut_am_69d7afd6a075b { opacity: 1; }#ut_am_wrap_69d7afd6a075c .ut-image-gallery-item-caption-title h3 { letter-spacing: 0em; }#ut_am_wrap_69d7afd6a075c .ut-gallery-slider-caption { font-weight: bold; }#ut_am_wrap_69d7afd6a075c { text-align: left; }@media (min-width: 768px) and (max-width: 1024px) { #ut_am_wrap_69d7afd6a075c { text-align: left !important; } }@media (max-width: 767px) { #ut_am_wrap_69d7afd6a075c { text-align: center !important; } }<\/style><div id=\"ut_am_wrap_69d7afd6a075c\" class=\"ut-image-gallery-image \"><div id=\"ut_reveal_69d7afd6a075d\"  data-appear-top-offset=\"auto\" class=\"ut-animated-image-item ut-image-gallery-item ut-animation-done \"><a class=\"ut-deactivated-link\" href=\"#\"><div class=\"ut-animated-image-zoom\"><img class=\"ut-lazy skip-lazy ut-animated-image\"  id=\"ut_am_69d7afd6a075b\" src=\"data:image\/svg+xml;charset=utf-8,%3Csvg xmlns%3D'http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg' viewBox%3D'0 0 500 600'%2F%3E\" data-src=\"https:\/\/www.mdw.ac.at\/ar_center\/wp-content\/uploads\/2020\/07\/ARC-Design-Element-6-1.svg\" width=\"500\" height=\"\" alt=\"\"\/><\/div><\/a><\/div><\/div><\/div>[\/vc_column][\/vc_row][\/vc_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][\/vc_section][vc_section][vc_row][vc_column width=&#8221;1\/4&#8243;][\/vc_column][vc_column width=&#8221;3\/4&#8243;][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][\/vc_section]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.mdw.ac.at\/ar_center\/wp-json\/wp\/v2\/pages\/667"}],"collection":[{"href":"https:\/\/www.mdw.ac.at\/ar_center\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.mdw.ac.at\/ar_center\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/ar_center\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/ar_center\/wp-json\/wp\/v2\/comments?post=667"}],"version-history":[{"count":25,"href":"https:\/\/www.mdw.ac.at\/ar_center\/wp-json\/wp\/v2\/pages\/667\/revisions"}],"predecessor-version":[{"id":3213,"href":"https:\/\/www.mdw.ac.at\/ar_center\/wp-json\/wp\/v2\/pages\/667\/revisions\/3213"}],"wp:attachment":[{"href":"https:\/\/www.mdw.ac.at\/ar_center\/wp-json\/wp\/v2\/media?parent=667"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}