Onderzoeksmatinee | KLAP

Onderzoek april 2018 (f Pepa Niebla, The Fog House Photography)
Lokaal 071, Kleine Zavel 5 te Brussel

Onder leiding van Kathleen Coessens

Fil Caporali

Investigating the role of the arco double bass on contemporary jazz

Throughout jazz history double bassists have being using the bow to play melodies, solos and to hold pedal notes, in the last decades jazz got influenced by other genres and developed many different sorts of rhythms and sonorities, also different players brought their personal approach which opened the music to other possibilities and aesthetics. 
This presentation intends through listening and experimentation to speculate about the several roles the arco double bass can occupy in the actual panorama of jazz ensemble.

Tomasz Konieczny

Between Science, Art and Myth

In the dawn of the Romantic era Friedrich Schlegel proclaimed the need of creating new mythology.
The idea had a big resonance and later greatly contributed to the popularity of fairy tales and fantasy in modern European art. However, Schlegel's original intention was different.
In my presentation I will try to revive the initial sense of his claim and to point its possible relevance to the practice of artistic research.


Peter van Bergen (NL) & Cristiano Melli (BR)

Developing  “Proper Empty Spacing”, a cyberopera.

Currently Peter van Bergen is working on “Proper Empty Spacing”, the final presentation of his PhD research “Improvisation, interaction, instability: artistic transformations”.
“Proper Empty Spacing” is an interactive “cyberopera” in 10 scenes for human actants (including the audience) and artificial actants/performers. It is called an opera because there is a libretto (text, material, present & absent), there are characters (human, artificial, present & absent) and there is drama (present & absent).
Central themes are the present and the absent, human-computer interaction, improvisation, interactivity, public participation, instability and transformation, dialogue, the private and the public domain.
The content of extreme forms of syn- en asynchronicism, communication and non-communication, stability and instability, minimalism and complexity, expectation and surprise logical and non-logical, finds an artistic expression in the aesthetic form through which the drama is unfolding itself, and the performance is created, developed and changing in the moment.
The explosive and implosive power generated by the notion of desintergration and the transformation that comes from the re-intergration constitues a guideline for the research and the creative process. In this sense the above mentioned form and content unite in a big bang of possibilities.
The path as a goal through which all the actants become one, sharing the same responsibility for input,  generative processes, output and feedback. Being an artistic performance and not an academic research on the spot, in “Proper Empty Spacing” the aesthetic value of the performance is primary.
The presentation – including projections, audio, visuals) - at KLAP 2020.01.10 is given in the form of a dialogue and discussion between Peter van Bergen (PhD candidate Free University Brussels, musical improvisor, composer, interpreter, creator of the concept of “Proper Empty Spacing”) and Cristiano Melli (BR, musical composer and interpreter, music theorist, director of “Proper Empty Spacing”).

Philippe Lamouris

The melody in our heads

It’s impossible to explain what is going through a composer’s mind while composing. I, myself don’t even know when I’m really composing.  However, once a composition is (so-called) finished, I know what I want to hear. I hear it clearly in my head, but conveying this message to the performer through a score, words and even gestures is difficult. During this presentation, we’ll discuss - using the famous bassoon solo of Stravinsky’s The Rite of Spring,  and some excerpts from my latest composition for violin, horn, and piano – the possibilities this difficulty gives both the composer and the performer. 

Kathleen Coessens

The body of the artist is present

I know there is this music score, with all its melodic and harmonic analyses, with the whole musical tradition explained by musicologists, in institutions and texts; I know there is the sound, the movement patterns or the recordings and the aesthetic idea of the composer or the choreographer. I know there is a space and a time in which these art objects have to unfold. But what about my embodied narrative and trajectory, my perception and action through which I not only understand but fully reveal this art?

An artist. A body. A presence.

From where to start? From a dot, taking for a walk — following Paul Klee. From a face, multiplying exchange — following Marina Abramovic. From breathing, over life to sound — following Helmut Lachenmann. From an artistic exploration of a day in my life – following Samuel Beckett. By presenting these artistic perspectives, I wish to unveil some of the enabling conditions of performing art and its embodied constraints and freedom. They take you through glimpses of the artistic research field on the body in performance.

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