COMMON GROUNDS
Research

Photo credits ©SCC
'Common Grounds' is An artistic-scientific, collaborative project that explores methods for listening, sensing and understanding climate change from an embedded perspective by taking novel approaches for performative sonifications of data through the theatrical apparatus.

The circumpolar region of the arctic is the fastest warming place on earth. While finally acknowledged by the public, and already felt as more frequent extreme weather events, the topic of climate change still remains difficult to engage with or talk about. Operating on a spatial and temporal scale much larger and slower than one we could percieve, it is for many just an inaccessible, looming threat.

Using the theater apparatus as a focused environment, our sound and light installation establishes a common ground for listening. Translating the arctic’s weather and climate into sound, it allows access to this phenomena through a physical and sensorial musical experience, opening up a special listening perspective.

In this first realisation of the project, an artificial sonic environment plays through a dataset of 20 years of hourly weather measurements, recorded at N 78° in the Svalbard archipelago, Norway. This data is rendered audible through various sonification methods we developed, forming a polyphonic ‘choir’ that compresses these 20 years into a single hour loop. Inside this environment visitors are offered a map, connected to an audio guide that will help them navigate the different stations and sounds.

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Common Grounds is an artistic-scientific project and is being developed in collaboration with Tobias Grewenig and the Permafrost research group led by Julia Boike at Alfred-Wegener-Institut Potsdam.

Supported by the HIDA X ATD fellowship of the Academy for Theater and Digitally,  the HIDA Helmholtz Information and Data Science Academy and the the wilo foundation, by the Alfred-Wegener-Institut Helmholtz Zentrum für Polar- und Meeresforschung AWI and by a NEUSTART_Stipendium of the STIFTUNG KUNSTFONDS

TEMPLURALITIES
Research
‘Templuralities’ is a long-term artistic research into cosmologies that offer alternatives to the linear-progressive model of time. Through a polysensorial practice of experiencing and knowing, this research proposes re-tuning our senses towards re-embodying time, for every-body keeps time.

‘Keeping’ time is both an act of scientific inquiry and artistic intimacy. This research proposes a triad of artistic-scientific things that hold and unfold time: instruments, myths and codes. Instruments - musical, scientific or those of the human body-mind itself; myths - aural and textual forms of stories that tell time; and codes - sacred-geometries and intelligent-algorithms from digital to occult. This time keeping triad calls into focus the ecological implications of temporal structures and therefore to our entangled relation with the environment. Responding to the extractive-exploitative bent of colonial thought that still motors modernity and its globalised malaise, Templurlities assert that acts of decolonisation are always also acts of environmental affirmation.

Initiated by the Sono-Choreographic Collective in 2020, the research unfolds through collaborative practices and shared presentations which we call Environments & Playgrounds.



PLAYING GROUNDS
Research

Photo credits ©SCC
To answer the issue’s provocation:what does decolonization look like in this age of hybridity?‘ this poly-modal essay offers glimpses into Scc’s transdisciplinary and cross- cultural artistic research processes by reaching into our desktops and drawers, our lab, kitchen and garden spaces.

This assemblage of text, sound, images and video is an expanding portrait of our still growing and spinning musical instruments.


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Commissioned by herri magazine

INSTRUMENTALITIES
Research

Photo credits ©SCC
In this online-workshop, we share and contextualise some of the practices we have been developing over the last years of working stretched across continents and time zones, in our attempts to embody non-hegemonic time cosmologies. Participants are guided through a series of somatic-semantic spirals: orientation exercises practiced online, mediated by the affordances of screen, headphones, hands and paper.

These are woven with poetic-discursive reflections relating to musical instruments as bodily extensions and as research instruments, and to the possibilities of experiencing time differently by tuning into the body-mind as an instrument.






Commissioned  by the  Berlin Centre for Advanced Studies in Arts and Sciences (BAS) for the Conference: Secrets, Treasures, and Sharing – Forschen und Teilen?, University of the Arts Berlin



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Sono Choreographic Collective