Henrik Frisk (PhD) - Professor of music
The duo Mongrel, consisting of Anders Elberling and Henrik Frisk have worked together for several years on numerous audio/visual projects. The overarching ambition is to critically examine the nature of the relation between audio and video. Their works have been performed in United Kingdom, Denmark, Sweden, Belgium, France, Germany, Vietnam and Lithuania.
There is a "need to approach artistic research from an experimental perspective, not as a stylistic measure but as a quality in the artistic aims. A core value in artistic research is, as far as we know it from our own work, the possibility to amplify artistic processes that aim at creating a change in one’s own practice, a change that, when it is described and thoroughly documented, can effectively communicate new knowledge."
Frisk, H., & Östersjö, S., Beyond validity: claiming the legacy of the artist-researcher, Swedish Journal of Music Research, 2013(), 41–63 (2013).
"These perspectives reveal music to be a medium that makes mutable some of the central dualisms of Western metaphysics: the separation of subject from object, authentic from artificial, present from past, individual from collectivity. Routinely, as I have indicated, music forms hybrids and transitions between these ‘pure’ states. In the face of such complexities, it is unhelpful to divide the study of music itself from the study of its social, technological and temporal forms."
Born, G., On musical mediation: ontology, technology and creativity, Twentieth century music, 2(1), 7–36 (2005).
Machinic propositions, is simultaneously an artistic project and an attempt to critically examine Deleuze and Guattari’s theorems of deterritorialization as found in chapter seven and ten of their seminal work A Thousand Plateaus.
(Deleuze and Guattari, 1980)
Our working process is, like most other artistic process, situated in our personal conditions and flaws but in Machinic Propositions we specifically use them to gain access to the ability to stammer in language while avoiding it in speech, metaphorically speaking.
"The fastest of two elements or movements of deterritorialization is not necessarily the most intense or most deterritorialized." (Deleuze and Guattari, 1980, p. 193)
"Sound and image are essentially different, they operate in different dimensions. What we uncovered, however, was that the solution lies rather in the attempt to move away from trying to synchronize the perception of sound and video, and instead focus on common processes that bind the elements together."
project diary, March 11, 2015
Performing and composing are different but complementing modalities
Perhaps self evidently, the context of improvisation appears to require the performance, and the act of listening/watching detached from the performance require the composition.
“a map and not a tracing”
(Deleuze and Guattari, 1980, p. 13)
Mapping the patterns we are creating, our individual as well as each other’s, is a process that may be seen as the attempt to reduce the number of possibilities in our project, while at the same time attempt to increase the number of possible connections.
"Benjamin suggests the practice of philosophy is not the conceptual deduction (deduction into concepts) of research but is also somewhat distinct from the metaphorical determinateness […] in the artwork"
Rrenban, M., Wild, unforgettable philosophy: in early works of walter benjamin (2005), : Lexington Books.
"there is a strong tendency towards treating a medium as a medium, or an art form as one form of art, only when certain qualitative aspects can be identified"
Elleström, L., The modalities of media: a model for understanding intermedial relations, In L. Elleström (Eds.), Media Borders, Multimodality and Intermediality (pp. ) (2010). : Palgrave Macmillan UK.
Contributing "to the self-referentiality of digital art is the emphasis artists put on the very process involved in producing art by more or less smoothly integrating the various media into an intermedial whole."
Ljungberg, C., Intermedial strategies in multimedia art, In L. Elleström (Eds.), Media Borders, Multimodality and Intermediality (pp. 90) (2010). : Palgrave Macmillan UK.
the editing is mainly concerned with the intermedial relations between the sound and the video rather than the individual parts.
My hopes for a future development of artistic research practices are that the complexity of the various configurations of the acts of performance, composition and listening are continuously explored and reframed, and that the methodological development that is a result of these studies will be further evolved in interdisciplinary contexts.