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TITLE
Garden of Harmonic Delight
Date/TIMEFRAME
September 14–17 2017
location & places
Publication Forums
Type / Discipline
Research methodologies (RM) / Strategies (RS)
Budget
Role
commissioned BY
Collaborators / partnerships
Design Team
Strategic Team
AMBASSADORS OF THE WHY (SCIENTIFIC EXPERTS)
Participants & Students
Funders
Text (Public, Experimental, Peer)
Exhibitions
Related SOS Projects
Related Precedents
Featured links & press
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OVERVIEW
Screenshot from Miroslav Grosser’s lecture-performance at “Sound Marathon”.

Most of my collaborations are not one-off events. They are long term, repetitive collaborative interdisciplinary art experiences, like working with a voice practitioner and harmonic overtone expert. Builds a trust space and that trust opens up all kinds of informal and formal co-learning experiences for students. This is the pedagogic equivalent of studying music theory in relation to music composition. Part of what it means to be a landscape architect is understating the theory of the discipline in relation to the practice. 

Audible range of harmonic frequencies in the human voice. Teaching chart by Miroslav Grosser. Scientifically analyzing the embodies feeling of sound (qualifying the qualia, as I put it) corresponds to larger pedagogic aims that underpin all of my creative activities and research, and teaching. How can drawings, models, and words make the invisible visible?

Performance-lectures are a common method and research form used by contemporary artists since at least the early 2000s, but these forms have not yet been incorporated into peer reviewed formats as critical research and dissemination | distribution in the disciplines of landscape architecture and architecture. They are. And I have acted professionally as an academic advisors to University Rectors as well as Deans of Art and Architecture (Fríða Björk Ingvarsdóttir) at the Iceland University of the Arts, Rekjayvick, as well as University of Applied Sciences and Arts Northwestern Switzerland FHNW (Dr Melanie Franke Professorin für Kunstgeschichte).

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