Research & Published Works


Peters, Deniz, ‘Asking a Question Through Art: Conceptual Exploration, Artistic Action, and Reflexivity’, in Arno Böhler and Susanne Granzer (eds.), Philosophy IN Artistic Research. Artistic Research IN Philosophy (Rowman & Littlefield, forthcoming)

Peters, Deniz, ‘Empathy in Improvisation’, in Alessandro Bertinetto and Marcello Ruta (ed.), The Routledge Handbook of Philosophy and Improvisation in the Arts (Routledge, forthcoming 2021), pp. 421–430

Peters, Deniz, ‘Gemeinsamer Ausdruck? Musikalische Empathie und ihre künstlerische Erforschung’, in Arnold Jacobshagen (ed.), Musik, die Wissen schafft: Perspektiven künstlerischer Musikforschung (Würzburg: Königshausen & Neumann, 2020), pp. 185–198

Peters, Deniz, ‘Between I and You in Music: Shared Emotions, Relational Improvisation, and Artistic Research’, in Catherine Laws (ed.), Performance, Subjectivity, and Experimentation, Orpheus Institute Series (Leuven: Leuven University Press, 2020), pp. 17–32

Peters, Deniz, ‘Rhythm, Preceding Its Abstraction’, in Peter Cheyne, Andy Hamilton and Max Paddison (eds.), The Philosophy of Rhythm: Aesthetics, Music, Poetics (Oxford: Oxford University Press, 2019), pp. 110­–124. ISBN 9780199347896

Peters, Deniz, ‘Sonic-Tactile Gestures and Daily Urban Listening’, in Ariane Wilson (ed.), Listen! Sound Worlds from Body to City. (Newcastle: Cambridge Scholars Publishing, 2019), pp. 59–88. ISBN(13): 978-1-5275-2388-3

Peters, Deniz, ‘Flavours and Flavourings: Towards a Typology of Artistic Research in Music’, Proceedings of the 9th SAR - International Conference on Artistic Research April 11-13 2018, University of Plymouth. Open Access: https://media.researchcatalogue.net/rc/master/94/82/a0/01/9482a001798201fb9f10919c8d0d5798.pdf?t=7faedbcf0973ac729bd501eeebb5986c&e=1626425100

Peters, Deniz, ‘Musikalische Empathie: Begriff und improvisatorisches Potential’, im Profil 12:2017, pp. 4–9

Peters, Deniz, ‘Instrumentality as Distributed, Interpersonal, and Self-Agential: Aesthetic Implications of an Instrumental Assemblage and its Fortuitous Voice’, in: Till Bovermann, Alberto de Campo, Hauke Egermann, Sarah Hardjowirogo und Stefan Weinzierl (eds.), Musical Instruments in the 21st Century. Identities, Configurations, Practices. (Springer, 2017), pp. 67–78. DOI: 10.1007/978-981-10-2951-6_

Peters, Deniz, ‘Six Propositions on Artistic Research’, in: Robert Burke and Andrys Onsman (eds.), Perspectives of Artistic Research in Music (Lexington, 2017), pp. 19-26. ISBN 9781498544825

Peters, Deniz, ‘Musical Empathy, Emotional Co-Constitution, and the “Musical Other”’, Empirical Musicology Review 10:1 (2015), pp. 2-15. Open Access: http://dx.doi.org/10.18061/emr.v10i1-2.4611.

Rutz, Hanns Holger, and Nayarí Castillo. (forthcoming). “Simultaneous Writing (Machines).” In: Proceedings of 7th Colloquium on Artistic Research in Performing Arts - Elastic Writing in Artistic Research (CARPA7). Helsinki: Performing Arts Research Center, University of the Arts Helsinki.

Castillo, Nayarí, and Hanns Holger Rutz, eds. 2021. Algorithmische Segmente | Algorithmic Segments. Graz: Reagenz Verlag.

Rutz, Hanns Holger. 2021. “Lob der Gleichformen | In Praise of Equiforms.” In: Algorithmische Segmente | Algorithmic Segments, edited by Nayarí Castillo and Hanns Holger Rutz, 58–67. Graz: Reagenz Verlag.

Rutz, Hanns Holger. 2021. “Human-Machine Simultaneity in the Compositional Process.” In: Handbook of Artificial Intelligence for Music, edited by Eduardo Reck Miranda, 21–51. Springer International Publishing. doi: 10.1007/978-3-030-72116-9_2

Rutz, Hanns Holger, and Nayarí Castillo. 2021. “in|fibrillae.” In: Proceedings of 9th Conference on Computation, Communication, Aesthetics & X (xCoAx), edited by Miguel Carvalhais, Mario Verdicchio, Luísa Ribas, and André Rangel, 497–503. Porto: i2ADS, University of Porto.

Rutz, Hanns Holger, and Nayarí Castillo. 2021. “Three Spaces.” In: Proceedings of 9th Conference on Computation, Communication, Aesthetics & X (xCoAx), edited by Miguel Carvalhais, Mario Verdicchio, Luísa Ribas, and André Rangel, 290–306. Porto: i2ADS, University of Porto.

Castillo, Nayarí, and Hanns Holger Rutz, eds. 2018. schwärmen + vernetzen | swarming + networking. Movement Profiles of the Holobiont, Impulses for Transdisciplinary Artistic Processes. Graz: Reagenz Verlag.

Rutz, Hanns Holger. 2018. “Algorithms under Reconfiguration.” In: Transpositions: Aesthetico-Epistemic Operators in Artistic Research, edited by Michael Schwab, 149–76. Leuven: Leuven University Press. doi: 10.26530/OAPEN_1000226

Rutz, Hanns Holger. 2018. “Eine Null schiebt sich zwischen Eins und Acht | A Zero Moves Between One and Eight.” In: schwärmen + vernetzen | swarming + networking. Movement Profiles of the Holobiont, Impulses for Transdisciplinary Artistic Processes, edited by Nayarí Castillo and Hanns Holger Rutz, leporello. Graz: Reagenz Verlag.

Rutz, Hanns Holger, and David Pirrò. 2018. “Körper.” In: Proceedings of 6th Conference on Computation, Communication, Aesthetics & X (xCoAx), edited by André Rangel, Luísa Ribas, Mario Verdicchio, and Miguel Carvalhais, 176–80. Porto: Universidade do Porto.

Castillo, Nayarí, Gertrude Grossegger, and Hanns Holger Rutz. 2017. “schwärmen + vernetzen. Transdisziplinäres Kunstprojekt.” In: Lichtungen. Zeitschrift Für Literatur, Kunst Und Zeitkritik XXXVIII (151): 155–70.

Rutz, Hanns Holger. 2017. “Escaping, Prolonging.” In: Imperfect Reconstruction. An Algorithmic Project by Lisa Horvath, David Pirrò, Hanns Holger Rutz, 54–57. Graz: esc media art laboratory.

Rutz, Hanns Holger. 2017. “Halting Operations for Algorithmic Alignment.” In: Journal of Science and Technology of the Arts (CITAR) 9 (3): 7–20. doi: 10.7559/citarj.v9i3.416

Rutz, Hanns Holger, ed. 2017. Imperfect Reconstruction. An Algorithmic Project by Lisa Horvath, David Pirrò, Hanns Holger Rutz. Graz: esc media art laboratory.

Rutz, Hanns Holger. 2017. “The Temporality of (Un|Non)Selection.” In: Proceedings of 5th Conference on Computation, Communication, Aesthetics & X (xCoAx), edited by Luísa Ribas, André Rangel, Mario Verdicchio, and Miguel Carvalhais, 162–70. Porto: Universidade do Porto.

Rutz, Hanns Holger, and David Pirrò. 2017. “Where Sounds Dwell.” In: Rose of the Winds. A Semantic Compass of Post-Habsburg Europe, edited by Kate Howlett-Jones and Nayarí Castillo, 74–79. Graz: The Daily Rhythms Collective.

Williams, Christopher A. 2021. “Mapping Participation: Lawrence Halprin’s RSVP Cycles Meets Richard Barrett’s FOKT.” Contemporary Music Review (forthcoming).

Williams, Christopher A., and Charlie Morrow. 2019. “Marketing Sonic Thinking with Creative Visualization: Getting Decision-Makers to Listen.” Cities & Health. https://doi.org/10.1080/23748834.2019.1625631.

Williams, Christopher. 2018. “Anarchiving (in) Ben Patterson’s Variations for Double-Bass.” Journal for Artistic Research 16. https://doi.org/10.22501/jar.387316.

Williams, Christopher. 2018. “Say No Score: A Lexical Improvisation after Bob Ostertag.” Tempo 72 (283): 21–33. https://doi.org/10.1017/S0040298217000912.

Williams, Christopher and Maschat, Mathias. 2016. “Three Performances: A Virtual (Musical) Improvisation.” In Experiencing Liveness in Contemporary Performance, edited by Matthew Reason and Anja Mølle Lindelof, 242–53. London: Routledge.

Williams, Christopher, and Martin Sonderkamp. 2012. “Where You End and I Begin: Cognition and Continuity in Experimental Music and Dance.” Critical Studies in Improvisation | Études Critiques En Improvisation 8 (2). http://www.criticalimprov.com/article/view/2144/2945.

  • Cardoso Sampaio, E. (2021). Artistic Research in Jazz: A Case Study in Jazz Composition for Large Ensemble. Jazz Journeys, Jazz Research 50/51. (eingereicht).
  • Cardoso Sampaio, E. (2021). Scores for Jazz Symphonic Orchestra (1. Open, 2. Ballet, 3. Fire, 4. Chops, 5. French Crime, 6. Going, 7. Moacir, 8. Frevo). Partitur.
  • Cardoso Sampaio, E. (2019). Scores for large ensemble (1. For Astor, 2. The Gard Nilssen Pattern, 3. Jet Lag, 4. Naked Tree). Partitur.
  • Cardoso Sampaio, E. (2018). Scores for jazz nonet and string orchestra (1. I, 2. II, 3. III, 4. Relax). Partitur.
  • Cardoso Sampaio, E. CD Music for Large Ensembles Vol II
  • Gioti, A. M. (2021). A Compositional Exploration of Computational Aesthetic Evaluation and AI Bias. Proceedings of the International Conference on New Interfaces for Musical Expression. Shanghai.
  • Gioti, A. M. (2021). Artificial Intelligence For Music Composition. Handbook of Artificial Intelligence for Music, edited by Eduardo Reck Miranda. Springer (in print).
  • Gioti, A. M. (2021). Converge/Diverge: Collaborative Emergence in a Composition for Piano, Double Bass and Interactive Music System. Proceedings of the International Computer Music Conference. Santiago, Chile (eingereicht).
  • Gioti, A. M. (2021). From Artificial to Extended Intelligence in Music Composition. Organised Sound 25 (1). https://doi.org/10.1017/S1355771819000438.
  • Gioti, A. M. (2019). Imitation Game: An Interactive Composition for Human and Robotic Percussionist. Proceedings of the International Computer Music Conference. New York.
  • Gioti, A. M. (2018). Neurons: An Interactive Composition Using a Neural Network for Recognition of Playing Techniques. Proceedings of the Musical Metacreation Workshop. Salamanca.
  • Gioti, A. M. (2017). Machine Listening in Interactive Music Systems: Current State and Future Directions. Proceedings of the International Computer Music Conference, Shanghai, 216–220.
  • Liculescu, A. (2018). Debut CD with works by Brahms, Beethoven, Liszt, Enescu and Ravel. Hochschule für Musik Detmold,  https://www.hfm-detmold.de/aktuelles/aktuelles-detail/news/cd-debuet-von-adela-liculescu/
  • Liculescu, A. (2016). CD with selected performances from the Bösendorfer Competition Vienna 2015.
  • Mayr, A. (2018). Voce faringea: Eine Kunst der Belcanto-Tenöre, Geschichte - Physiologie und Akustik-Übungen, Bärenreiter.
  • Musil, B. (2018). »Wie ein Begehren«, Sprache und Musik in der Interpretation von Vokalmusik (nicht nur) des Fin de Siècle, Transcript.
  • Romero, L. (2021). Experiment and Experience: Compositional Practice as Critique. Sound Work: Composition as Critical Technical Practice (Orpheus Institute book series), Jonathan Impett (ed.). Leuven University Press (in print).
  • Romero, L. (2020). displaced for chamber orchestra. Kompositionsauftrag des SÜDWESTRUNDFUNKS. Partitur, Babel scores.
  • Romero, L. (2019-20). Parallax for symphonic orchestra. Kompositionsauftrag des SÜDWESTRUNDFUNKS. Partitur.
  • Romero, L. (2018). Experiment and Experience. The Openness of a Space of Encounter. Conference EMS18 Electroacuostic Music: Is it still a form of Experimental Music?. Konferenzpräsentation, Florence.
  • Romero, L. (2017). Shared Spaces of Material and Form. Sounding Out the Space, An International Conference on the Spatiality of Sound, DIT Conservatory of Music and Drama, Dublin School of Creative Arts and GradCAM. Konferenzpräsentation, Dublin.
  • Romero, L. (2017). Dérive for string quartet and live electronics. Partitur, Babel scores.
  • Romero, L. (2016). Composition as Experiment. SOUND WORK Composition as Critical Technical Practice, Orpheus Research Seminar, Orpheus Institut. Konferenzpräsentation, Ghent.
  • Romero, L. (2012-13). ins Offene for ten instruments and electronics. Partitur, Babel scores.
  • Romero L. Portrait-CD: Lula Romero: ins offene, Deutscher Musikrat: edition zeitgenössische musik, Mainz: WERGO LC000846, 2019: ins Offene (2012/13) for 10 instruments and live electronics, die Wanderung (2016/17) cycle for Solo instruments and live electronics, Entmündigung (2015/16) for two sopranos, alto and live electronics.
  • Romero L. Contribution-CD: MTRAK (2018) for fixed media, in CD: Segmod, DUMPF Edition #12, Zürich: Dumpf LC 20293, 2019.
  • Seel, D. (2020). Der Diskurs um den Klang der Flöte im 19. Jahrhundert, Wißner.
  • Wetzel, K. (2021). Das Werk im Werk, Konzepte des Poly-Werks, Fink.

FWF Research Project (FWF/P34449-G): The Epistemic Power of Music / Musik als Erkenntnis

Univ.Prof. Dr. Andreas Dorschel (Project Leader)
Univ.Prof. Dr. Deniz Peters (Co-Leader)
Dr. Férdia Stone-Davis (Postdoctoral Researcher)

Artistic research is a fast-growing field that comprises diverse approaches, practical and theoretical. A common distinction here is that between "research on the arts", "research for the arts" and "research in the arts" While useful, the categories thus distinguished are not as clear as they might first appear, nor do they capture the full potential of music's epistemic power, specifically, to address concerns that go beyond the musically immanent. It is therefore strongly desirable to achieve a new, nuanced and complex clarification of the kinds of knowledge music involves - not only to further the music-specific discourse in aesthetics, but also the wider theoretical discourse on artistic research.

 

FWF/ZK93 Zukunftskollegprojekt: (Musical) Improvisation and Ethics


Dr. Christopher A. Williams (KUG), Coordinator
Dr. Caroline Gatt (Universität Graz)
Dr. Joshua Bergamin (Universität Wien)

In this interdisciplinary, practice-oriented project we investigate the improvised nature of ethical behavior, using live encounters with musical ensembles as case studies.

Improvisation and ethics are everywhere. People improvise in so many practices – from cooking to sports to migration policy – that it often goes unnoticed. The same is true of ethics; as self-interpreting animals, humans reveal and develop ethical values in everything from democracy to empirical science to punk rock. 

But the role of improvisation *within* ethics is often overlooked. Instead, many people and institutions tend to characterize ethics as a matter of consciously, rationally adhering to known norms and rules. Disputes over the content of such rules manifest as the ideological tribalism of our era. 

In this project, we pursue an alternative understanding of ethics as an ongoing process. We take as our starting point an understanding of this process as a combination of habitual actions and the spontaneous refinement of those very actions, all driven by a sensitivity to social and environmental context: in a word, improvisation. 

To test and develop this idea, we will engage with a practice in which the improvisational qualities of ethics are unmistakable: experimental improvised music. The framework is a series of seven, 10-day-long collaborative sessions – a “musical ethics laboratory” (Lab). In the Lab, musical ensembles improvise with and against given situations, structures, and interventions, in private and public settings. We will design the Lab collaboratively, drawing on our backgrounds in philosophy, anthropology, critical improvisation studies, and artistic research in music. Musicians will also shape the Lab, proposing their own ideas and reflecting on the work as it unfolds. We will interact with the musicians creatively, and through interviews and observation. Each session will result in public concerts and a talk.

Our analysis of documentation from the Lab will focus on three things: (1) the evolution of musicians' own materials and practical working methods; (2) their "improvising mindset", including values, habits, and senses of self; and (3) the way they "listen" to each other and to other-than-human elements in their environments. This analysis will both inform future Lab sessions and ground a new, holistic conceptual framework for understanding the ethical significance of improvisation across a range of human activity. We hope this framework will be of interest to artists, scholars in the humanities and social sciences, and lay people alike.

Advisory Board

Tim Ingold, Professor Emeritus of Anthropology, University of Aberdeen
Angelika Krebs, Professor of Philosophy, University of Basel
George E. Lewis, Edwin H. Case Professor of American Music, Columbia University
Erin Manning, Associate Professor of Philosophy and Relational Art, Concordia University
Anand Pandian, Professor of Anthropology, Johns Hopkins University
Deniz Peters, University Professor of Artistic Research, University of Music and Performing Arts Graz
John Sutton, Professor of Cognitive Science, Macquarie University
Michael Wheeler, Professor of Philosophy, University of Stirling