In this research project I analyze and reflect on taqsīm recordings by two leading figures of ‘ūd playing who were pillars of modern Arabic music, namely the Egyptians Muḥammad al-Qaṣabjī (1898... Show moreIn this research project I analyze and reflect on taqsīm recordings by two leading figures of ‘ūd playing who were pillars of modern Arabic music, namely the Egyptians Muḥammad al-Qaṣabjī (1898-1964) and Riyāḍ al-Sunbāṭī (1906-1981). I decode and underline their most significant traits in order to:1) enrich and develop my melodic-rhythmic vocabulary;2) deepen my understanding of the structural, melodic and rhythmic processes underlying the genre;3) design a structural framework or a model for pre-composing taqsīm-like pieces of music.To put it another way, the dissertation discusses the creation of pre-composed taqāsīm. The pieces follow a specific model of pre-composition that was designed while taking al-Qaṣabjī and al-Sunbāṭī’s taqsīm practice as a reference and a source of inspiration. This model contributes to both artistic research and practical knowledge, and provides new insights into structural, melodic and rhythmical processes of the genre. The artistic outcome of this project includes five new works for solo ‘ūd. Show less
This research project adresses the question how local and traditional European forms of parrhesiastic theater—by which I mean events, actions, and performances staged by characters who courageously... Show moreThis research project adresses the question how local and traditional European forms of parrhesiastic theater—by which I mean events, actions, and performances staged by characters who courageously speak their minds through scenes of excess and laughter, that take place in public view and incite the spectator’s agency to speak their own minds—possibly relate to and/or provide new insights into critical artistic practices today. In this context, the project also examines the place and role of caricature today.I approach the issue as an artist-researcher concerned with socially engaged artistic practices. The experience of the playful, humorous, and sharply critical attitude of Gezi Park protesters speaking their minds in Istanbul in 2013 led me to critically reconsider my own courage in positioning myself within contemporary artistic production. Throughout the dissertation I work along a Moebius strip schema, which continually shifts from me as individual artist to dialogic collaborations to writing about the process. The research subject is investigated through a circulation process within which concepts such as communication, dialogue, and listening are continuously performed and put to the test. The dissertation aspires to provide new insights into how tensions between the roles of individual and group, “I” and “we,” may open up a parrhesiastic space for critical artistic practices. Show less
This essay explores possibilities for enactive imagining and criticism. It observes how recent enactive accounts of cognition see no divide between imagination and everyday perception, and forego... Show moreThis essay explores possibilities for enactive imagining and criticism. It observes how recent enactive accounts of cognition see no divide between imagination and everyday perception, and forego representationalism. It examines somatosensory responses and effortless vivacity for some animal-related imagery in Terence Cave’s cognitive literary criticism Thinking with Literature (2016). Next, it finds that today’s enactive criticism resonates with Francis Junius’s early modern notion of energia, a loose blend of vividness (enargeia) and vivacity (energeia), and concludes that, with its emphasis on energeia’s ‘life force’, energia goes beyond the viewer’s participation in an image’s pictorialist illusion. Pictorialist-style imagining, the essay claims, aligns with a pre-enactive representationalist understanding of cognition. To better explore enactive imagining, the essay entangles discursive writing and artistic work, animated by bird wings. Show less
