The Laboratory for Artistic Research, Interferens, is now presenting its fifth edition and for the occasion I will present the piece Machinic propositions. On January 16-18 2018, the Malmö Academy of Music, in collaboration with NKFM (Nationellt Nätverk för Konstnärlig Forskning i Musik) is hosting the events that take place at IAC in Malmö. Interference #5 is a peer-reviewed and curated event in which the aim is to create a discourse within music research, drawn from performative and material perspectives on musical creativity. The atmosphere is that of sharing and joint exploration. In six thematically organized and curated sessions, artists and researchers will engage in a practice-based exploration of a series of perspectives on artistic experimentation, collaboration and the musician in society.<h3>Machinic propositions</h3> Machinic propositions is 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 book A Thousand Plateaus (Deleuze & Guattari, 1980). The output will be an audio-visual expression with the same over-arching goal to attempt to counteract the predominance of one medium over the other. Our objective is not to integrate them, but to approach what is described as “a confidence with no possible interlocutor” (Deleuze & Parnet, 2006). Our artistic method is one where conceptual deduction and improvisation play central roles. It has grown out of our thinking about contemporary media and our attempts to critically examine both our own pro-technical approach and the hyper media- landscape we live in. This method was developed based on our artistic ideas, the needs of the projects we engage in and the conditions of our respective practices. At the core of our work lies the attempt to deconstruct the relationship between sound and image. Our work process is slow and meticulous. The work on the present project began over a year ago and is likely to continue past the premiere at the Dare conference in November 2017. In other words, the actual work only materializes at the very end of a relatively long process of interaction.

Henrik Frisk & Stefan Östersjö: The Ear of Migration: a projected documentary film

In Inerferens #5 I will also present a project together with Stefan Östersjö recently financed by the Marcus and Amalia Wallenberg foundation. The Ear of Migration is a film project in the form of a documentary looking at the soundscape of migration. It will become the second collaboration between the Vietnamese/American filmmaker and cultural theorist Trinh T. Minh-ha and the Vietnamese/Swedish group The Six Tones1. This documentary creates several layers of reflection from migrated artists. First, through an experimental music project set in Sweden, with explicit political aims, in which the voice of each participating artist becomes a reflective articulation of the experience of migration. Second, a further reflection is created through interviews with the director of the film, about her own experiences of migrating from Vietnam to the USA.

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