practice-based research

Presentation about artistic research in Taipei

中文請往下>>

You are cordially invited to the first Taipei Cleveringa Lecture. Professor emeritus Frans de Ruiter, founder and former director of Leiden University’s Academy of Creative and Performing Arts (ACPA), will speak about a new and hotly debated field of academic inquiry: artistic research. In his talk he will draw upon the work of many artists who were recently awarded the title of PhD, and give examples of their creative, artistic and scholarly endeavours. Included is a live vocal performance of one of Leiden’s ACPA PhDs, Mark van Tongeren, who will demonstrate the process of his research project Thresholds of the Audible.

This Cleveringa Lecture will be introduced by Leiden University alumnus Guy Wittich, who is representative for the Netherlands Trade and Investment Office in Taipei (NTIO).

Please join us for this unique global event!

We’ll receive you with complimentary drinks and snacks from 18:00 onward.

Entrance is free, but we appreciate if you could register through the link below or the registration tab above.

Synopsis

How do  ‘artistic researchers’ articulate what cannot be written? How do they oscillate from style to style, from rule to exception and from exception to rule again? What qualifies as a PhD, when it is partly based on a composition or an exhibition? What if the text itself is a website, instead of a printed thesis? These and other questions surround the emerging field of artistic research in Europe. Frans de Ruiter has supervised many artistic PhDs to successful completion. In his talk he will draw on examples ranging from Early Music to living composers and from typography to design, to highlight theoretical challenges of practise-based research. Video, audio and a short live performance will be part of the presentation.

About the Cleveringa Lectures

The Cleveringa Lecture in Taipei is part of a series of lectures presented annually in major cities around the world. Dealing with a wide range of current topics and delivered by prominent Leiden researchers, the Cleveringa Lectures commemorate the lecture that Prof. Mr. R.P. Cleveringa held at Leiden University on 26 November 1940. They are organised around that same date by the Leiden University Fund since 1946 in collaboration with local partners.

The Taipei Clevering Lecture and reception are made possible through the generous support of the NTIO (Netherlands Trade and Investment Office) in Taipei and the VNT (Vereniging Nederlanders in Taiwan/Dutch Society of Taiwan).

Date:

Monday 27 November 2017

Program:

18:00-18:30        Drinks and bites

18:30-19:15        Lecture

19:15-19:30        Q&A

Venue:

Astronomy-Mathematics Building, NTU campus, No. 1, Sec. 4, Roosevelt Road, Daan District, Taipei. A map can be found under the “Venue” tab in the navigation toolbar.

Registration

Entrance is free but please register before Monday 20 November through this link or the “Registration” tab in the navigation toolbar.

More information

If you have any question do not hesitate to contact one of the local organisers:

  • Mark van Tongeren: mark @ fusica.nl  /  0910382749
  • Ciska Kemper: ciska @ asiaa.sinica.edu.tw / 0932944428

Learn more about the organising institutions and sponsors:

LUF / Leiden University Fund: http://www.luf.nl/cleveringa

VNT / Vereniging Nederlandstaligen Taiwan: http://dutchclubtaiwan.com/

NTIO / Netherlands Trade and Investment Office: http://www.ntio.org.tw/

敬邀

謹代表在台荷蘭聯誼會,誠摯地邀請您蒞臨2017年11月27日(一)假台灣大學天文數學館舉行之首場臺北克維林和紀念講座(Cleveringa Lecture)。本講座每年由全球荷蘭萊登大學校友籌辦,紀念萊登大學法學院克林維和教授在二次世界大戰間荷蘭受納粹德國占領時所發表的抗議演說。本講座由在台荷蘭聯誼會(Vereniging Nederlandstaligen Taiwan, VNT)代表萊登大學基金(Leids Universiteits Fonds, LUF)籌辦,並由荷蘭貿易暨投資辦事處(Netherlands Trade and Investment Office in Taipei, NTIO)協辦。

本場次講座由萊登大學名譽教授Frans de Ruiter主講,De Ruiter教授為萊登大學創意與表驗藝術學院(Academy of Creative and Performing Arts, ACPA)創辦人暨前主任,將以新興且廣受熱議的藝術研究學門為講題。其中將介紹數位最近獲得博士學位的藝術家作品,並以他們在創意、藝術及學術上的嘗試為例演講。萊登大學創意與表演藝術學院Mark van Tongeren博士將現場以聲樂演出,並暢談他的研究計畫”聽力的臨界”(Thresholds of the Audible)。本講座將由萊登大學校友、荷蘭駐台北貿易投資辦事處紀維德代表擔任介紹人。

誠摯地邀請您蒞臨這場獨特的全球性活動。

講座當日晚間18:00時起敬備茶點,歡迎各位貴賓、先進蒞臨。

講座請於2017年11月20日前由網站報名,或直接在此填寫報名表。

耑此 敬頌

時祺

Ciska Kemper 康逸雲(Academia Sinica, LUF, VNT)

Mark van Tongeren 溫馬克 (Fusica, LUF)

Guy Wittich紀維德 (NTIO, LUF, VNT)

André Verkade范安治 (NTIO)

林宜亭Christine Lin (Taiwan Thinktank, LUF)     敬邀

5/24: Free R E S O N A N C E Introduction Class

Sunday May 24 at Canjune’s Training Center in the Daan area, Taipei, from 10-12: an introduction to next year’s RESONANCE course. With information about the course, some exercises and a small concert by Mark to round it up.

Canjune Training Centre, 4th Floor, number 3 , Lane 151, Fuxing South Road, Section 2, (this is about 20 meters from the corner of FuXing South Road, go up the stairs to the hairdresser and take the elevator to 4F; if you’re early the streetdoor may be closed). Nearest MRT: Technology Building (10 min. walk). Phone 09 – 10 38 27 49.

RESONANCE中文版02

 

 

March10-13: PhD defense and performances

On March 13 I shall, deo volente, succesfully defend my thesis

Grenzen van het hoorbare: over de meerstemmigheid van het lichaam (Thresholds of the Audible: about the Multiphony of the Body).

For those interested there are several opportunities to attend performances in the days prior to the defense. All events can be attended free of charge.

Superstringtrio: Rollin Rachele & Mark van Tongeren

Superstringtrio: Rollin Rachele & Mark van Tongeren (Photography Jochem Hartz)

Sunday 10 and Tuesday 12 March

18:30, doors open 18:00

Incognito Ergo Sum, performance

Dokzaal, Plantage Doklaan 8-12, 1018 CM Amsterdam

With Superstringtrio (Rollin Rachele, Mark van Tongeren, voices), Horst Rickels (artistic advice), Daphne van Tongeren (light-performance) and Maksim Chapochnikov (speaker).

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mark van tongeren nulpunten

0… / Zeropoints

Monday 11 March

13:30-16:30, ongoing

0…: an overtone singing marathon for two singers

Academy of Creative and Performing Arts, Rapenburg 38, Leiden

With Superstringtrio (Rollin Rachele, Mark van Tongeren, voices), Paul Oomen (live compositional direction).

Academy of Creative and Performing Arts, Leiden University, Rapenburg 38, Leiden.

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Thresholds of the audible

Thresholds of the audible

Wednesday 13 March

12:45 – 13:15 Introductory talk, Zaal 2

13:45 – 14:45 Defense, Senaatskamer

14:45 – 15:45 Reception, downstairs

Academiegebouw, Leiden University, Rapenburg 73, Leiden

On the Fusica website you can find more information on all the events:

Fusica logo

And here you may announce your wish to attend one or more of the events.

Your attendance at one or more of the events will be much appreciated!

Rollin Rachele (Photography: Jochem Hartz)

Rollin Rachele (Photography: Jochem Hartz)

Thanks for sharing, hope to see you.

Mark van Tongeren

Reflecties op boventonen – uit de inleiding

Twee decennia geleden was boventoonzang voor mij een speciaal en ikonisch verschijnsel, dat leidde tot bijzondere ervaringen. De sterke, subjectieve gewaarwordingen gingen gepaard met persoonlijke transformaties en een veranderend bewustzijn. De verleiding was groot om mijn nieuwe muzikale mogelijkheden op te vatten als een bijzondere gave, en mijn transformaties als een soort bewijs daarvan. De reacties van anderen op deze vorm van zingen gaven daar soms ook aanleiding toe: mensen staan perplex, geloven hun oren bijna niet, en begrijpen niet wat je doet of hoe het kan. Boventonen zijn tegelijk vervreemdend, bij het bovennatuurlijke af, en hyperreëel. Toch gaat het om door en door natuurlijke verschijnselen die overal voor elke aardbewonder zo aanwezig zijn als de zwaartekracht. Ook dat idee was onmiddelijk evident: er was sprake van een duidelijke realisatie dat deze harmonischen mij scheppen en mij doordringen, en dat dat niet alleen voor mijn zingen geldt maar ook voor mijn spreken. Elk woord, elk symbool, elke waarheid en elke illusie die ik in mijn leven hoor, ontstaat ten dele door middel van deze resonanties. Waar of wat ze precies zijn als ik denk weet ik niet, maar ook mijn innerlijke stem draagt de sporen van deze resonanties in zich en is in staat, via mijn spraakorganen en de lucht die binnen en buiten mij is, ze weer tevoorschijn te laten komen.

Hieruit volgt: het is veel te beperkend om de kennis die zich openbaart in deze manier van zingen te begrenzen tot die personen die boventonen kunnen zingen. Deze groep mensen, waar ik deel van uitmaak,  zijn in staat iets te herscheppen en om te vormen wat ze eerst herkend hebben, maar de herkenning is niet voorbehouden aan ons alleen. Dit onderzoek naar boventoonzang gaat niet om bepaalde ‘zangculturen’ (bijvoorbeeld in Tibet) en ‘muziekgenres’ (boventoonmuziek), het gaat om kritische luisteraars die met enige oefening en training iets waarnemen dat andere mensen ontgaat. Ik hoor niet in de eerste plaats bij een categorie zangers; ik hoor bij een type luisteraar. Mijn muzikale verwantschappen liggen aan de rafelranden van het muziekleven, waar Edgar Varèse geluid vrij maakt, de NASA achtergrondruis van het heelal in geluid omzet, een sound-designer het sonische karakter van dichtklappende BMW-deuren ontwerpt, en ritselende bladeren in de tuin een duet in grijstinten aangaan met een ver vliegtuig. Muziek—intentioneel of onbedoeld—is overal en houdt continu mijn speciale aandacht vast.

In dit akoestische spectrum neemt de boventoonreeks vooral een bijzondere plaats in in zoverre ik haar niet onder controle heb, omdat ze gegeven is. Eenmaal ontdekt, kunnen er bepaalde controlemechanismes in werking treden. Boventonen leiden dan gemakkelijk tot een soort fetisjisme: ze worden overal gezocht, en vervolgens ook gevonden. En daar waar ze niet evident aanwezig zijn, worden ze (bij)gemaakt. In de laatste decennia hebben musici talloze technieken ontwikkeld om de klankspectra van instrumenten te verrijken en vocale boventonen te versterken tot het niveau van zelfstandig manipuleerbare tonen. De enorme uitbreiding aan beschikbare klanken houdt gelijke tred met die in elke vorm van informatie. Mijn artistieke hoofddoel nu is soberder: ik heb getracht niet meer, maar minder te doen dan andere zangers, en een radicale wending tot de oermaterie van harmonischen zelf te voltrekken, en te laten horen hoe dat klinkt.

Rollin Rachele & Mark van Tongeren present: 0…

and here as text:

Zero Point is the result of a four-year long artistic research by Mark van Tongeren into Overtone Singing and the Thresholds of Audibility, at the Academy for Creative and Performance Arts (Leiden University) and docARTES (Ghent). It exists of many hundreds of possible permutations that together build up the technique of overtone singing from the ground. The presentation this Thursday consists of a small selection of these strings of sound structures, alternated with other compositions and improvisations that have been developed in these years. Thus the musical, harmonic source material of the human body is made audible in all its glorious, shimmering and rubbing forms. This is the first, short presentation of a theatrical-ritual process that is under development, and in which other Parafonists will take part.

Direction: Horst Rickels

Performers: Rollin Rachele, Mark van Tongeren

Light: Daphne van Tongeren

˚   Plantage Dok   ˚  Plantage Doklaan 8-12  ˚  Amsterdam   ˚   Thursday 1 juli 2010   ˚   22:00    ˚   free entrance

FORUM Interview about Thresholds of Audibility

There is an interview about my research for the University’s FORUM magazine, with some tracks of the Sphere album. You can read it here in Dutch:

http://www.hum.leidenuniv.nl/medewerkers/forum/index-509/vantongeren-509.html

and this is the English translation:

In The research of … Mark van Tongeren, doctoral student at the Academy of Creative and Performing Arts, tells about his research int new possibilities of multi-voiced overtone singing. “We are making audible a strange world of harmonies, that is hidden behind every word that we speak.”

Tell something about yourself, how did you arrive at this research topic?
For some twenty years now I am studying the foundations of sound, among others from (ethno)musicological and artistic perspectives. It all began with the question: what is sound colour? I tried to find answers to that question experimentally, because I thought something of the spectral analysis that we saw at acoustics classes must be retracable in our experience. After a little while I recognized in my voice specific resonances, so-called overtones, and I taught myself to sing in two voices. The unfamiliarity of the phenomenon of overtone singing taught me, as a musicology student, that this was an interesting area of study that I could help develop. I went to Tuva, in Siberia, in 1993, where the world’s best overtone singers live: in that time it was almost terra incognita for Westerners. Those fieldwork experiences raised my curiosity about the wider role of music and sound in society, vice versa. More research trips to Asia followed, and I wrote a book in which I assembled existing knowledge about overtone singing. Parallel to this I developed my vocal art and did theatre projects. Through my teaching post at the Royal Conservatory in The Hague I heard about the inauguration of the Faculty of Creative and Performing Arts. The combination of science and art has always attracted me, and now I can solve some burning issues as a PhD student.

Photo: Four Sardinians sing in Five Voices. Photo M. van Tongeren, Castelsardo, Sardinia, 2007.

Can you tell what the research programme is about? Which is the central question?
I discern two main themes in my research programme Overtone Singing and the Thresholds of Audibility: one concerns a niche within a niche of music, the other rethinks and articulates what that means for the way in which each human relates to the world acoustically. My starting point is the artistic research into new possibilities of multi-voiced overtone singing. In fact I am not doing more, but less than what already has been done: together with others I show the matrix that is the foundation of the singing voice, without frills. This is done with the help of Zero(points) (Nulpunten), a series of systematic sound structures in which fundamental tones and overtones ‘meet themselves’ as it were. We are making audible a strange world of harmonies, that is hidden behind every word that we speak. Everyone speaks with the help of overtones, but nobody hears them, because speech is founded upon strategic transformations in our perception. That is the reason, secondly, for a deeper investigation of reality and illusion of our auditory world. For example, overtone singing is often considered a spiritual phenomenon, despite the fact that it is founded upon a way of listening that could be called rather empirical or phenomenological.

On 0.29/3028 three singers execute a variant of  Zero(point) 29, which exists of an almost endless series of permutations. In a simialr fashion Parafonia has recorded hundreds of chords, rather systematically and without frills. A selection of the Zero(point)s, starting with 0.32, forms the artistic part of the PhD, and its leitmotiv. They are further approached from the viewpoint of science, philosohpy and belief.Listen: 0.29-3028 (mp3)

What are the most exciting parts of the project?
I am tempted to select the artistic part of my research, for which I founded my laboratory Parafonia, as the most exciting part. Without a doubt the vocal experiments, in which performance – and theatrical elements also play a role, are the driving force behind this project. Within that, the composition cycle Zero(points) takes a special place, because it is something that has never been done before, while in my view it deals with fundamental knowledge and skills in music and acoustics. It is interesting both artistically and conceptually. On the other hand, it is just as exciting to think about what is nót very specific about this obscure way of singing, but what this way of singing lays bare about acoustic reality as such. You hit upon fundamental illusions in our perception that are comparable, for example, to the gaping rift between the space-time of modern physics and that of our everyday experience.

What do you hope to achieve?
For the short term, until February 2010, I hope I will be able to write down my thoughts crystal clear and to record the sound likewise. These are important conditions to get my research across to people. It is my intention that singers, composers, and my group Parafonia do much more with this material. Apart from that, I am aiming at people who have an interest and passion for music, who want to satisfy their curiosity with sounds that, from a musical and aesthetic perspective, try to get to the essence of sound.

How do you like the life of a researcher at this faculty?
I find the wide scope of the Academy of the Performing and Creative Arts  in the international framework of docARTES very stimulating. The first two year every PhD student joins monthly meetings with other musicians and composers, to talk about the theory and philosophy of artistic research. Philosopher Marcel Cobussen and theoretician Henk Borgdorff have given many impulses for the development of the new area of artistic research, together with a host of international guests from the musical and scholarly world. That was rather intensive, and to some extent I now miss the frequent exchange of ideas. Here in Leiden I have the privilege to work in a beautiful building on the Rapenburg with excellent acoustics: we have recorded the best Zero(points) here, among others in the kitchen, and not in the chapel in The Hague where our new, audiophile Cd Sphere was recorded. Hopefully the Academy of Creative and Performing Arts remains in this building for a while so that we can continue to realize our crystal clear recordings in ideal acoustic conditions.

Forum, September 2009

Harmonics and Paraphony

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In these blog-notes I post news pertaining to my artistic projects and scholarly research in

music, sound and performing arts.

You will find updates about events, developments and news related to

overtone singing, throat singing/khöömei and harmonics

and the wider approach to sound/awareness that I call

paraphony.

My background is in cultural musicology,

with main focuses on North Asia (Tuva/Altai, Mongolia, Tibet) and Sardinia/Corsica.

I recently earned my PhD at the Academy of Creative and Performing Arts of Leiden University (NL) and docARTES/Orpehus Institute in Ghent (BE), which are among the very first  institutes in Europe to offer PhDs in artistic research or practice-based-research.

Thanks for visiting. Happy reading and joyful listening!