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Littérature scientifique sur le sujet « Music and diplomacy – History »

Auteur : Grafiati
Publié le 10 mars 2023

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Articles de revues sur le sujet "Music and diplomacy – History"

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Mahiet, Damien. « The Musical Diplomacy of Metternich ». Diplomatica 3, no 2 (28 décembre 2021) : 244–77. http://dx.doi.org/10.1163/25891774-03020003.

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Abstract That festivities are woven into the historical image of the Austrian diplomat, foreign minister, and state chancellor Clemens von Metternich (1773–1859) is in part the byproduct of his investment in music. As an amateur performer, passionate connoisseur, attentive patron, and frequent host, Metternich cultivated an international soundworld that presented opportunities for cooperative performances. Ensemble music and collective listening provided experiences of international concert that gained significance in the context of multilateral congresses and meetings. Musical exchanges, sustained through the activity of women and professional musicians, contributed to fostering diplomatic relations and international presence. In the context of the Restoration’s competing soundworlds, Metternich deployed a patronage of Rossini’s work and Italian opera music, with increasing intensity but mixed effect. This history speaks to the function of music in the presentation of self in international encounters and the resources to be found in the plurality of roles diplomats perform.
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Jamnongsarn, Surasak. « Interaction of Music as a Soft Power in the Dimension of Cultural Diplomacy between Indonesia and Thailand ». International Journal of Creative and Arts Studies 1, no 1 (17 avril 2017) : 58. http://dx.doi.org/10.24821/ijcas.v1i1.1572.

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The phenomenon of cultural diplomacy between Indonesia and Thailand had appeared since the visit of the Kings of Thailand to Java more than a hundred years ago. In addition, the Indonesian immigrants who has come to Thailand are also an important factor of musical history of both countries. As a result of these interactions, the exchange of ideas, information, value, system, tradition, belief, and other aspects of culture are in the interest of foster mutual understanding through musical dimension. More precisely, the interaction contributes to the exchange of musical ideas. In the Thai music history, angklung and gamelan is an essential tool for building international relations between the two countries at the community level. The relation between the two countries is similar to the relationship between two people so that emotion is the key methodologies in cultural diplomacy. The purpose of diplomacy is to give those people around you to know you better. There used to be a lot of cultural imperialism in cultural diplomacy, but this should be avoided. Currently, cultural diplomacy can give an idea on how a country engaging with others, a capacity to share and accept other viewpoints. The music has a very positive impact for the development of musical culture in Thailand today.Angklung has been taught in every elementary school in the whole of Thailand, even at the level of junior high school and high school. The ideas of new works by Thailand composers today inspired many of the gamelan orchestra. Despite the fact may be felt by the people of Thailand that the influence of Indonesian music is so powerful, so far no Thai person who writes about the history of this music as cultural diplomacy. Cultural diplomacy conceived and built in three models of representation: soft power, nation branding, and cosmopolitan constructivism.
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LIU, BESS XINTONG. « ‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra's 1973 China Tour ». Twentieth-Century Music 18, no 3 (octobre 2021) : 395–418. http://dx.doi.org/10.1017/s1478572221000189.

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AbstractThis article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).
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Marc, Isabelle. « Around the world : France’s new popular music diplomacy ». Modern & ; Contemporary France 28, no 3 (27 octobre 2019) : 253–70. http://dx.doi.org/10.1080/09639489.2019.1682533.

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McGAVIN, JOHN J. « Robert III's 'Rough Music' : Charivari and Diplomacy in a Medieval Scottish Court ». Scottish Historical Review 74, no 2 (octobre 1995) : 144–58. http://dx.doi.org/10.3366/shr.1995.74.2.144.

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Moore, Michaela Hoenicke. « Sound Diplomacy : Music and Emotions in Transatlantic Relations, 1850–1920 ». Journal of Transatlantic Studies 8, no 4 (décembre 2010) : 413–14. http://dx.doi.org/10.1080/14794012.2010.522364.

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Woodfield, Ian. « The Keyboard Recital in Oriental Diplomacy, 1520–1620 ». Journal of the Royal Musical Association 115, no 1 (1990) : 33–62. http://dx.doi.org/10.1093/jrma/115.1.33.

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The giving of gifts or ‘bribes’ in return for official favours was an immutable fact of life in oriental society that Europeans who travelled to the East in the service of religious or commercial interests had no choice but to accept. Permission to open a trading station or a mission would rarely be granted unless the request were accompanied by a present of some substance. The initial gift, moreover, would inevitably inspire many demands for similar treatment by subordinate officials in whose hands lay considerable power to disrupt the ordered patterns of daily life. The choice of suitable objects for presentation was thus an abiding concern of every European organization with interests in the East. There was general agreement that cheap trinkets which might be used to good effect to buy off an African chief would be regarded as an insult in any of the great oriental courts. To appear before the Sultan or the Great Mughal with a feeble or even a mildly inadequate offering was to put at risk the very interests in which the gifts were given. Failure to please could be doubly damaging if a rival European organization were able to make good the disappointment. A balance had therefore to be struck between the need for goods that displayed the best aspects of European artistry, craftsmanship and mechanical ingenuity and the need to keep costs to a reasonable level. The musical gift which most closely matched these requirements was a keyboard instrument of some kind: a harpsichord, for instance, could be painted attractively and displayed as an objet d'art; with its method of sound reproduction, it could also be presented as a mechanical device; it was certain to be regarded as a novelty; and, most important of all, the costs of its manufacture and transportation and the wages of the single musician hired to accompany it would not be prohibitive. For all these reasons, organs, harpsichords and virginals occupy a very significant place in the history of Renaissance oriental diplomacy, especially during the period from c. 1575 to c. 1625 when the old Portuguese empire began its decline in the face of fierce competition from the commercial interests of the Dutch and English nations.
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Raković, Aleksandar. « Yugoslav Rock Opera Gubec-beg (1973–1984) – Theatrical Spectacle and Cultural Diplomacy ». Tokovi istorije 29, no 3 (31 décembre 2021) : 253–74. http://dx.doi.org/10.31212/tokovi.2021.3.rak.253-274.

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The paper shows how the first Yugoslav rock opera Gubec-beg was created, how its spectacular stage production made its way into the repertoire of Zagrebʼs Komedija Theatre and the Vatroslav Lisinski Concert Hall in Zagreb, how important it was for Yugoslav culture at home and cultural diplomacy abroad and for public opinion regarding this performance. The paper is written on the basis of documents from the Archives of Yugoslavia, the Diplomatic Archive of the Ministry of Foreign Affairs of the Republic of Serbia, the domestic press and periodicals (entertainment, music, daily, youth, political, musicological, theatre), and academic and scholarly literature.
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LESON, LENA. « “I'm on My Way to a Heav'nly Lan’” : Porgy and Bess as American Religious Export to the USSR ». Journal of the Society for American Music 15, no 2 (mai 2021) : 143–70. http://dx.doi.org/10.1017/s1752196321000018.

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AbstractScholars have explored the use of Breen-Davis's Porgy and Bess and its stellar ensemble cast to counter Soviet criticism of US race relations during the Cold War—but an equally prominent theme in contemporary coverage of the production is spirituality. Onstage as well as off, the Soviet tour of Porgy and Bess reflected both American and Soviet ideas about religion's role in international diplomacy in the mid-1950s. This article explores religiosity in the Breen-Davis production as well as the reception of the 1955–56 Soviet tour both in the United States, where the production represented a hopeful vision of the nation's racial tolerance and religious pluralism, and in the USSR, where the tour's twin messages of American spiritual superiority and racial equality were challenged by Soviet authorities. Drawing on materials from the Robert Breen Archives housed in the Jerome Lawrence and Robert Lee Theatre Research Institute at Ohio State University, this article considers Breen-Davis's Porgy and Bess as a religious export to the USSR, enriching our understanding of US cultural diplomacy and Cold War–era musical exchange with broader implications for American–Soviet history, religious studies, and opera analysis.
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Han, Benjamin M. « Transpacific Talent ». Pacific Historical Review 87, no 3 (2018) : 473–98. http://dx.doi.org/10.1525/phr.2018.87.3.473.

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This article examines the Kim Sisters, a trio of female performers from South Korea, as a case study to explore the transpacific exchange of ethnic talent between the United States and Korea during the Cold War. It illustrates how U.S. military occupation, popular music, and Cold War diplomacy were visibly intertwined in entertainment television programming. The performances of the Kim Sisters in variety shows as a display of ethnic spectacle under the mask of internationalism constructed a false projection of race relations while the United States sought to win the cultural Cold War. The Kim Sisters navigated the complex structures of American Orientalism that television ascribed to them.
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Thèses sur le sujet "Music and diplomacy – History"

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Kube, Sven. « Born in the U.S.A. / Made in the G.D.R. : Anglo-American Popular Music and the Westernization of a Communist Record Market ». FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3656.

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Scholars from various disciplines have demonstrated that popular culture factored significantly in Cold War contestation. As a pervasive form of cultural content and unifying medium for baby boomers worldwide, pop music played an important part in the power struggle between the era’s two adversarial camps. Historical studies of the past thirty years have identified initiatives of cultural diplomacy, from radio broadcasting to live concert tours, as key to disseminating Western music in Eastern Bloc societies. This project explains how cultural commerce across the divide of the Iron Curtain familiarized millions of music fans in the German Democratic Republic (GDR) with popular sounds from the United States, the United Kingdom, and other Western democracies. Detailing a process that affected all Bloc states in similar ways, it seeks to enrich the scholarly discourse on the role of pop culture in the twentieth century’s defining ideological conflict. Through analysis of previously unavailable or inaccessible sources, the dissertation reconstructs the economic development of a communist culture industry and measures the commercial significance of Western commodities in one Eastern Bloc marketplace. Drawing on untapped archival files, it traces the evolution of Deutsche Schallplatten (German Records) from a small private firm into a flagship enterprise on the GDR’s cultural circuit. It illuminates how dependency on technology and resources from capitalist countries prompted East Germany’s managers to prioritize the westward export of classical recordings for the purpose of earning hard currencies. Based on oral histories of contemporary witnesses, it documents how the Amiga label through the parent company’s business ties to capitalist partners advanced the import of Western jazz, blues, rock, pop, and dance music to exhaust the purchasing power of the home audience. Empirically evaluating formerly classified production data for a total of 143 million records, it reveals how the state-owned monopolist engineered a de facto takeover of the domestic marketplace by American, British, and West German performers to achieve high profitability. The dissertation argues that intensifying Westernization of its walled-in music market exemplified the GDR’s decision to concede the Cold War battle over cultural preferences and political loyalties of its citizens out of economic necessity.
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Kralli, Ioanna. « Early Hellenistic Athens : leadership and diplomacy ». Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338994.

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Mayo-Bobee, Dinah. « War and Diplomacy in the Early Republic ». Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/738.

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Clayton, Roderick. « Diplomats and diplomacy in London, 1667-1672 ». Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307360.

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McCollister, Robert Jarrett. « Summit diplomacy : the consequences of cold war summits / ». The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487776801319461.

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Button, Lee. « German Foreign Policy & ; Diplomacy 1890-1906 ». TopSCHOLAR®, 1990. https://digitalcommons.wku.edu/theses/2206.

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From 1871 to 1914, Germany experienced its first taste of world power and the failure of controlling and retaining that power. German power after 1871 had sought only a dominance of continental politics and a maintenance of a status quo in Europe favorable to Germany. Following 1890, however, the German course deviated to include a vision of world power. German foreign policy until 1890 was based on two things: hegemonic control of the heart of Europe and the force of will of one man, Otto von Bismarck. Yet despite relative control of the European situation and a cautious and able statesman at the helm, Germany was quickly intoxicated by its new power as much as reacting against the almost oppressive control of Bismarck. By all measures, the German appetite for power was growing faster than ordinary diplomatic conquests could satisfy it. The need for instant gratification caused a recklessness in foreign policy and diplomacy best characterized by Krisepolitik, or crisis diplomacy. This dilemma not only resulted from a growing appetite for power, but also from a lack of understanding of international politics. The European reaction to the new German aggressiveness and to the lack of direction in German policy was one of suspicion. With the cancellation of the Reinsurance Treaty with Russian in 1890, every German move was viewed by increasingly hostile eyes. Axes of power began to form which much threatened the growing world power of Germany, a Germany which saw the need to contest the powers on as many points as possible, while avoiding war, to retain its power in the 1890s and the first years of the twentieth century.
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Maddox, William Stuart. « The Quiet Diplomacy : President Eisenhower and Dien Bien Phu ». W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625626.

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Maxson, Brian. « Claiming Byzantium : Papal Diplomacy, Biondo Flavio, and the Fourth Crusade ». Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/6176.

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The humanist Biondo wrote three different narratives of the Fourth Crusade aimed at establishing the legitimacy of western claims to lands in the east. Biondo had played an integral part in the ephemeral reunification of the Greek and Latin Churches at the Council of Florence in July 1439. Biondo blamed the Greeks for the failure and thus did not mourn the loss of their empire to the Ottoman Turks in 1453. However, Biondo did urge several states in the Italian Peninsula to set out en mass to fight the Turks. He viewed the fall of Constantinople as an opportunity for the Latin West to reestablish its rightful empire in the east. He explicated this opinion in at least two different treatises dedicated to rulers shortly after the fall of the ancient city. To Alfonso of Aragon, Biondo argued that the King could establish a peaceful and prosperous extension of his maritime holdings to include a fallen empire with no legal ruler. To the Venetians, he presented the Fourth Crusade as a glorious victory that established their legal claim to rule the now-lost remnants of the Byzantine Empire. Biondo shaped his source material of the Fourth Crusade into an historical narrative that made this primary argument and urged powerful rulers in the Italian peninsula to take back what was rightfully theirs.
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Maxson, Brian Jeffrey. « Expressions of Power in Diplomacy in Fifteenth-Century Florence ». Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2665.

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Maxson, Brian. « The Certame Coronario, Ritual, and Diplomacy in Fifteenth-Century Florence ». Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/6224.

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Livres sur le sujet "Music and diplomacy – History"

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Music and international history in the twentieth century. New York : Berghahn Books, 2015.

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1905-, Smith Carleton Sprague, Katz Israel J, Kuss Malena et Wolfe Richard J, dir. Libraries, history, diplomacy, and the performing arts : Essays in honor of Carleton Sprague Smith. Stuyvesant, NY : Pendragon Press in cooperation with the New York Public Library, 1991.

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Sound diplomacy : Music and emotions in German-American relations, 1850-1920. Chicago : University of Chicago Press, 2009.

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L'organo tardoantico : Storie di sovranità e diplomazia. Padova : CLEUP, 2008.

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Marunčić, Tonko. Luka & Antun Sorkočević : Diplomati i skladatelji. Dubrovnik : Knežev dvor, 2014.

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Chuprova, I. A. Rolʹ muzykalʹnoĭ kulʹtury v formirovaniĭ obraza Rossii za rubezhom (na primere moskovskoĭ pianisticheskoĭ shkoly) : Monografii︠a︡. Moskva : Izdatelʹstvo "MGIMO-Universitet, ", 2019.

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Syafii, Sulhan. Udjo : Diplomasi angklung : Saung Angklung Udjo. Jakarta : Gramedia Widiasarana Indonesia, 2009.

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Ramel, Frédéric, et Cécile Prévost-Thomas, dir. International Relations, Music and Diplomacy. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63163-9.

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La Musica en Latinoamerica. Mexico, D.F : Secretaria de Relaciones Exteriores, 2011.

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Mattingly, Garrett. Renaissance diplomacy. New York : Dover Publications, 1988.

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Chapitres de livres sur le sujet "Music and diplomacy – History"

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Gribenski, Fanny. « Negotiating the Pitch : For a Diplomatic History of A, at the Crossroads of Politics, Music, Science and Industry ». Dans International Relations, Music and Diplomacy, 173–92. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63163-9_8.

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Balzacq, Thierry, Frédéric Charillon et Frédéric Ramel. « Introduction : History and Theories of Diplomacy ». Dans Global Diplomacy, 1–16. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28786-3_1.

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Smith, R. B. « Coercive Diplomacy ». Dans An International History of the Vietnam War, 241–58. London : Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-06451-9_14.

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Smith, R. B. « Coercive Diplomacy ». Dans An International History of the Vietnam War, 241–58. London : Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-09637-4_14.

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Standen, John. « Music ». Dans Handbook for History Teachers, 483–87. London : Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-63.

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Leslie, Orrey. « Music ». Dans Handbook for History Teachers, 1014–16. London : Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-176.

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Schweitzer, Glenn E. « Five Years to Change the Course of History ». Dans Techno-Diplomacy, 287–99. Boston, MA : Springer US, 1989. http://dx.doi.org/10.1007/978-1-4899-6046-7_10.

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Ingram, Anders. « Trade, Diplomacy, and History ». Dans Writing the Ottomans, 85–117. London : Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137401533_5.

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Prévost-Thomas, Cécile, et Frédéric Ramel. « Introduction : Understanding Musical Diplomacies—Movements on the “Scenes” ». Dans International Relations, Music and Diplomacy, 1–19. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63163-9_1.

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Vuletic, Dean. « The Eurovision Song Contest in the Musical Diplomacy of Authoritarian States ». Dans International Relations, Music and Diplomacy, 213–34. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63163-9_10.

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Actes de conférences sur le sujet "Music and diplomacy – History"

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Kuznetsov, Dmitry. « «PANDA DIPLOMACY» AND PUBLIC DIPLOMACY OF THE PRC : HISTORY AND MODERNITY ». Dans Россия и Китай : история и перспективы сотрудничества. Благовещенский государственный педагогический университет, 2020. http://dx.doi.org/10.48344/bspu.2020.33.87.131.

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Krylov, Yuriy, et Andrey Bazarov. « FORMATION AND DEVELOPMENT HISTORY OF SPASO-PREOBRAZHENSKY MONASTERY ». Dans ORTHODOXY AND DIPLOMACY IN THE ASIA-PACIFIC REGION. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0756-5-179-185.

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A. Trubach, Alexiy. « HISTORY AND CURRENT STATUS OF ORTHODOXY IN MONGOLIA ». Dans ORTHODOXY AND DIPLOMACY IN THE ASIA-PACIFIC REGION. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0756-5-6-12.

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Dias, Ricardo, Manuel J. Fonseca et Daniel Gonçalves. « Music listening history explorer ». Dans the 2012 ACM international conference. New York, New York, USA : ACM Press, 2012. http://dx.doi.org/10.1145/2166966.2167013.

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Grgurevic, Davor. « ANALYSIS OF THE DEVELOPMENT OF CROATIAN DIPLOMACY THROUGHOUT THE HISTORY ». Dans 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb11/s01.002.

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Sobolev, Oleg. « HISTORY OF CREATION OF RUSSIAN ORGANIZATIONS IN THE BURYAT REPUBLIC ». Dans ORTHODOXY AND DIPLOMACY IN THE ASIA-PACIFIC REGION. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0756-5-208-216.

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Bazov, Andrei, et Natalia Bazova. « DEVELOPMENT HISTORY OF THE FISHERIES IN NEAR SELENGA REGION OF THE BAIKAL AREA ». Dans ORTHODOXY AND DIPLOMACY IN THE ASIA-PACIFIC REGION. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0756-5-197-207.

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VEVERA, Victor Adrian, et Sorin TOPOR. « THE COMMUNICATIONAL DIMENSION OF DIGITAL DIPLOMACY ». Dans SCIENTIFIC RESEARCH AND EDUCATION IN THE AIR FORCE. Publishing House of “Henri Coanda” Air Force Academy, 2022. http://dx.doi.org/10.19062/2247-3173.2021.22.12.

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Diplomacy has emerged in interstate relations as a mechanism that facilitates the achievement of state objectives, with the task of promoting and protecting state sovereignty. It has had to be reinvented with every important discovery in world history and with every substantial change in the field of communication. The fourth industrial revolution changed the whole panoply of interpersonal and interstates relations, having an important effect on the way international relations unfolded. The emergence of 24/7 news networks, social networks, blogs and streaming has led diplomacy to enter a new stage of its transformation and adaptation to the realities of the contemporary world, giving rise to the so-called digital diplomacy. In this article cyber diplomacy is described from its communicational dimension point of view underlining its importance for assuring national interest of states.
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Castillo, Francisco. « EVOLUTIONISM IN MUSIC HISTORY : TOWARD RECONCILIATION ». Dans 5th Arts & Humanities Conference, Copenhagen. International Institute of Social and Economic Sciences, 2019. http://dx.doi.org/10.20472/ahc.2019.005.004.

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Alexeeva, Sardaana. « ETHNIQUE DIPLOMACY : FAMILY ETIQUETTE AND CULTURE OF BEHAVIOR AMONG TUNGUS. TRADITION AND INNOVATION ». Dans SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s8.007.

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Rapports d'organisations sur le sujet "Music and diplomacy – History"

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Pryt, Karina. Polish-German film relations in the process of building German cultural hegemony in Europe 1933-1939. Universitätsbibliothek Johann Christian Senckenberg, décembre 2022. http://dx.doi.org/10.21248/gups.70888.

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The article presents Polish-German film relations in the framework of Nazis cultural diplomacy between 1933 and 1939. The Nazi effort to create a cultural hegemony through the unification of the European film market under German leadership serves as an important point of reference. On the example of the Polish-German relationship, the article analyses the Nazi “soft power” in terms of both its strength and limits. Describing the broader geopolitical context, the article proposes a new trail in the research on both the film milieus and the cinema culture in Poland in the 1930s. In mythological terms, it belongs to cultural diplomacy and adds simultaneously to film history and New Cinema History.
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Nucera, Diana J., et Catalina Vallejo. Media-making Pedagogies for Empowerment & ; Social Change : An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, février 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, août 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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