dc.description.abstract | This text is critically reflecting on different aspects of the artistic research project “The sound
in-between”. The interactive vocal installation could be experienced by the public 14-17
January 2016 in the mediaevel church Sola ruinkirke, outside Stavanger. The project builds
upon vocal soundscapes, spatiality and listening experience forming a whole, where the
listener elicits looped vocal compositions via sensors on the floor, and the music is heard
through speakers. The interactive listener plays a fundamental part considering expression and
listening experience, and thus becomes a musical co-creator. Conceptually the project
thematizes space and sound in an art context, as a place for the listener’s prereflective
experiences. The ‘in-between-space’ is a prominent metaphor throughout the text, and I
reflect upon it as ‘basis’, ‘concept’, ‘process’, ‘product’, in addition to experience and
learning. The following research question forms the basis for this text: How can the processes
in the artistic production “The sound in-between” be illuminated, where loops as a
compositional tool, spatiality and interaction design seek to give room for ‘sensuous
knowledge’ in the listening experience?
I place my project in the context of kunstnerisk utviklingsarbeid in a Norwegian tradition, or
‘artistic research’ referring to Borgdorff (2014). ‘Sensuous knowledge’ is connected to the
listener’s experience, and Kjørup (2006) is my reference in this context. A phenomenological
perspective will be seen throughout the text. In my treatment of the compositional process
Kruse (2011) is my most central theoretical reference. His cross-over focus in the arts is very
relevant for my thoughts on the ‘in-between’. I refer to Franinović and Serafin when it comes
to interaction design. Methodically I wander between scientific method traditionally speaking,
artistic method and reflection upon this method. I also reflect on the artistic process. My own
reflections during the project are documented by writing log, and the installation is
documented by videorecording. The compositions were developed by working with
categories for improvisation, looping of several vocal layers and editing sound files in
Garageband. The artistic method is also based on interaction design, using Max software and
sensors, together with the conceptual molding of the church room. The project has many
facets and has been a wandering between different fields and ways of working. My creative
process in this project has in many ways been an artistic life in-between. In my last section I
reflect on the relevance of the concept and lived world of the in-between in other contexts,
including the pedagogical ones. | nb_NO |