Four artist-researchers associated with the Academy of Creative and Performing Arts, Leiden University discuss their manners of documenting and observing their performing selves. What role can... Show moreFour artist-researchers associated with the Academy of Creative and Performing Arts, Leiden University discuss their manners of documenting and observing their performing selves. What role can intuition play in research? Can self-reflection and performance coinhabit the same corporeal space? Although the participants share points of view, their practices, the materials they engage with and the intended outcomes differ. Show less
While Dutch actor Johannes Jelgerhuis (1770–1836) is best known for his acting treatise Theoretische Lessen (1827), his lesser-known private writings reveal the passionate actor behind the theory.... Show moreWhile Dutch actor Johannes Jelgerhuis (1770–1836) is best known for his acting treatise Theoretische Lessen (1827), his lesser-known private writings reveal the passionate actor behind the theory. Particularly detailed, his manuscript Toneel Studien of 1811, casts light on Jelgerhuis’s thoughts and preparations behind the creation and performance of six roles. Show less
In this dialogue with Professor Dr. Henk Borgdorff, from Leiden University (The Netherlands), we revisit the current state of the debate on research in the arts -or practice-based research- in... Show moreIn this dialogue with Professor Dr. Henk Borgdorff, from Leiden University (The Netherlands), we revisit the current state of the debate on research in the arts -or practice-based research- in Europe and its possible connections with Latin America. Although it is a process that is constantly emerging in academic and professional fields, we intend to develop new perspectives which promote artistic practice as research. Show less
In 1811, 1814, and 1817, the renowned Dutch actor and painter Johannes Jelgerhuis Rienkszoon authored three illustrated journals to document the productions of the English, French, and Dutch... Show more In 1811, 1814, and 1817, the renowned Dutch actor and painter Johannes Jelgerhuis Rienkszoon authored three illustrated journals to document the productions of the English, French, and Dutch theatre companies that came to perform in Amsterdam. This article provides an overview of Jelgerhuis’s manuscripts, placing them in context with his other published and unpublished works as a means to illuminate differences and similarities between early modern and contemporary European performance practices. Show less
Applying French philosopher Gilbert Simondon’s concept of image to the domain of the sonorous, this article aims to tackle how imagination is constitutional in our grasp of sound, and how this... Show moreApplying French philosopher Gilbert Simondon’s concept of image to the domain of the sonorous, this article aims to tackle how imagination is constitutional in our grasp of sound, and how this grasp is informed by the protocols and affordances of technological tools of sound reproduction and manipulation. Simondon proposes a notion of imagination that, rather than referring to the capacity of a subjective consciousness, designates a series of processes within which the image emerges. The image is conceived as the product of an activity, a node in a circuit of processes of anticipation, reception, recollection, and invention which articulate the interaction of an agent and its medium. Conceiving the sound image through this model emphasizes how perceptual instances of sound take shape within modes of engagement, articulated through the affordances of technologies of audio manipulation that we use on a daily basis. By applying this notion, this article aims to address technology within the realm of artistic practice not as a tool to expand the palette of possibilities of our imagination, but as inherent in the conditions of our grasp of the sonorous. By elaborating on my sound installation Focus, I aim to outline a practice that exposes the way imagination is entwined with imprints of technologies and particular circumstances of sound mediation. Show less
