What can improvisation contribute to artistic research?
RMIT Vietnam Saigon South Campus, Building 1, Level 1, Theatre Bowen
10:00, Sunday 21 September
This presentation by Marcel Cobussen will deal with improvisation and what it can contribute to artistic research. How can artistic research benefit from improvisational strategies? How can artistic research be improvised, and what would that imply in terms of its methodology? Can improvisation, regarded as a process of continuous experimentation and exploration, become a method through which artistic research is executed? Improvising as a research method implies opening up a field of possibilities and trying to keep it open – by allowing risks, misunderstandings, and ambiguity – instead of aiming at a clearly demarcated and pre-established endpoint, solution or answer. Perhaps this is what artistic research should be all about …
To register via Humanitix, please visit: https://events.humanitix.com/what-can-improvisation-contribute-to-artistic-research
Marcel Cobussen is Professor of Auditory Culture and Music Philosophy at Leiden University. He is author of e.g. Engaging With Everyday Sounds (2022), The Field of Musical Improvisation (2017), Thresholds: Rethinking Spirituality through Music (2008), and co-editor of The Routledge Companion to Sounding Art (2016)
Thinking Sounds 
Hello, my name is Juan Ignacio Ferreras. I am a doctoral student at the Federal University of Minas Gerais in Brazil, and my work revolves around improvisation, music, and artistic research. Will this conversation be broadcast online? I am very interested, especially considering that I often draw on the author’s ideas for my own writing.
Best regards, Juan Ignacio.
Hi Juan Ignacio. It took a bit longer before the organizers in Vietnam responded. As it looks now the presentation will not be broadcast online. However similar thoughts can be found in the book edited by Michael Kahr “Artistic Research in Jazz” to which I contributed. You can also take a look at the “Bloomsbury Handbook of Sonic Methodologies” (Chapter 16) and/or my open access e-book “The Field of Musical Improvisation.”