photo © Cristiana de Marchi
16th SAR International Conference on Artistic Research
University of Porto, Portugal
Friday, May 9, 2025 - 12:00
40 min Presentation + 30 min Discussion
Moderator: Trond Lossius
Room: B338
Ruth Anderwald, Miriana Faieta, Bogdan Florea, Ileana Gherghina, Elke Mark, Cristiana de Marchi, Kai Ziegner.
Voicing can be understood as a germane element in our epistemological and methodological practices. It uses the instrument that so many living and non-living beings possess, and links the materiality of the voice and its signifying aspects: how can we think about voice and language without resorting to a sound/sense hiatus? A voice steers us, guides us, motivates or hinders us; be it the voice of an animal orfellow human, the inner voice as we get in our own head, the artificial voice of a navigation system or digital assistant, the empathetic voice of a friend, the pleasurable murmur of wind and water; it can be the imagined voice of the narrator in our favourite book, the actor’s voice filling a character with life, or a commentator interpreting events… Allure or warning, we coordinate the voices we encounter; we orient and direct ourselves according to their perception. We might move away from screaming and lean in to hear a whisper, responding with somatic space positioning, different levels of appreciation, alertness, or openness, and the ensuing sense-making processes. Voices are habitually connected to bodies and somatic expression of living beings; thus, they are also part of animistic practices. How is the voice related to its body, and how to explore the voice that has many bodies, or the voice that has no body at all? Thinking artistic research from the encounter of sensory information within a body, its surroundings, and the conditions it occurs in, the voicing of art and research has become a crucial point of reference and a daily practice for many of us.
Watch Ruth Anderwald's video here.
