Orpheus Institute Machinic assemblages of desire

Deleuze and Artistic Research 3

The concept of assemblage has emerged in recent decades as a central tool for describing, analysing, and transforming dynamic systems in a variety of disciplines. Coined by Deleuze and Guattari in relation to different fields of knowledge, human practices, and nonhuman arrangements, "assemblage" is variously applied today in the arts, philosophy, and human and social sciences, forming links not only between disciplines but also between critical thought and artistic practice. Machinic Assemblages...

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Engels | PDF, 27 MB | Leuven University Press, Leuven | 2021

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Orpheus Institute Sound work

composition as critical technical practice

The practices and perception of music creation have evolved with the cultural, social and technological contexts of music and musicians. But musical authorship, in its many technical and aesthetic modes, remains an important component of music culture. Musicians are increasingly called on to share their experience in writing. However, cultural imperatives to account for composition as knowledge production and to make claims for its uniqueness inhibit the development of discourse in both expert and...

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Engels | 376 pagina's (PDF, 23 MB) | Leuven University Press, Leuven | 2021

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Orpheus Institute Experience music experiment

pragmatism and artistic research

"Truth happens to an idea." So wrote William James in 1907; and twenty-four years later John Dewey argued that artistic experience entailed a process of "doing and undergoing." But what do these ideas have to do with music, or with research conducted in and through music-that is, with "artistic research"? In this collection of essays, fourteen very different authors respond with distinct and challenging perspectives. Some report on their own experiments and experiences; some offer probing analyses...

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Engels | PDF, 15 MB | Leuven University Press, Leuven | 2021

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Orpheus Institute Performance, subjectivity, and experimentation

Music reflects subjectivity and identity: that idea is now deeply ingrained in both musicology and popular media commentary. The study of music across cultures and practices often addresses the enactment of subjectivity "in" music - how music expresses or represents "an" individual or "a" group. However, a sense of selfhood is also formed and continually reformed through musical practices, not least performance. How does this take place? How might the work of practitioners reveal aspects of this...

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Engels | PDF, 4,2 MB | Leuven University Press, Leuven | 2020

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Stefan Östersjö Listening to the other

Our contemporary, globalised society demands new forms of listening. But what are these new forms? In Listening to the Other, Stefan Östersjö challenges conventional understandings of the ways musicians listen. He develops a transmodal understanding of listening that is situated in the body-a body that is extended by its mediation through musical instruments and other technologies. Listening habits can turn these tools-and even the body itself-into resistant objects or musical Others. Supported...

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Engels | PDF, 6,3 MB | Leuven University Press, Leuven | 2020

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Orpheus Institute Voices, bodies, practices

performing musical subjectivities

Identity and subjectivity in musical performances. Who is the "I" that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice...

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Engels | PDF, 31 MB | Leuven University Press, Leuven | 2019

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Orpheus Institute Sensorial aesthetics in music practices

The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics-the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of...

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Engels | PDF, 24 MB | Leuven University Press, Leuven | 2019

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Orpheus Institute Experimental encounters in music and beyond

Multidisciplinary analysis of experimentalism in music and the wider arts today Experimental Encounters in Music and Beyond opens a necessary dialogue on experimental practices in the arts and negotiates their place in contemporary society. Going beyond the music-historical usage of the term "experimental", this book reimagines experimentation as an open working definition encompassing multiple forms of artistic attitudes and processes. The texts, images, and sounds offer multiple traces, faces,...

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Engels | 212 pagina's (PDF, 3,4 MB) | Leuven University Press, Leuven | 2018

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Orpheus Institute Artistic research in music: discipline and resistance

artists and researchers at the Orpheus Institute

The Orpheus Institute celebrates 20 years of artistic research in music. Artistic research in music is now at a generational stage of development. How should it deal with its own maturing? From a kaleidoscope of individual pursuits, ethos and methodologies have emerged to encompass more distributed approaches. This transformation has taken place in parallel with changes in the dynamics and structures of culture, its institutions and constituencies. Artistic research maintains a productive dialectic...

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Engels | 316 pagina's (PDF, 5 MB) | Leuven University Press, Leuven | 2018

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Orpheus Institute The dark precursor

Deleuze and artistic research

Deleuze's and Guattari's philosophy in the field of artistic research Gilles Deleuze's intriguing concept of the dark precursor refers to intensive processes of energetic flows passing between fields of different potentials. Fleetingly used in Difference and Repetition, it remained underexplored in Deleuze's subsequent work. In this collection of essays numerous contributors offer perspectives on Deleuze's concept of the dark precursor as it affects artistic research, providing a wide-ranging panorama...

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Engels | 572 pagina's (PDF, 10 MB) | Leuven University Press, Leuven | 2018

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Orpheus Institute Artistic experimentation in music

an anthology

Essential reading for anyone interested in artistic research applied to music. This book is the first anthology of writings about the emerging subject of artistic experimentation in music. This subject, as part of the cross-disciplinary field of artistic research, cuts across boundaries of the conventional categories of performance practice, music analysis, aesthetics, and music pedagogy. The texts, most of them specially written for this volume, have a common genesis in the explorations of the Orpheus...

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Engels | 416 pagina's (PDF, 5 MB) | Leuven University Press, Leuven | 2017

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Paul Craenen Composing under the skin

the music-making body at the composer's desk

A revealing study of the physical presence of the musician in musical performance. Fingers slipping over guitar strings, the tap of a bow against the body of a cello, a pianist humming along to the music: contemporary composers often work with parasitic, non-conventional sounds such as these. Are they to be perceived as musical elements or do they shift attention to the physical effort of music-making, contact between a body and an instrument? Composer Paul Craenen explores ways in which the musician's...

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Engels | 288 pagina's (PDF, 2,9 MB) | Leuven University Press, Leuven | 2017

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