KSENIJA STEVANOVIC (Serbia) // (20-29 February 2012)
Ksenija Stevanovic has graduated musicology at the Faculty of Musicology in Belgrade, with a thesis on the biopolitical interpretation of opera-related issues. She was among the first members of “Teorija koja hoda” (“Walking Theory” – a Belgrade based independent platform for performing arts theory and practice) and one of the founders of cHINcH: Initiative for contemporary music, “live” and visual media. Music editor at the Third Programme of Radio Belgrade. Currently a Ph.D. candidate at the University of Paris-X Nanterre, with a dissertation on Glenn Gould.
Since I work for years now as broadcaster, promoter and researcher-musicologist, I am by very scope of my profession deeply involved with sound archives as such. I am especially interested in problematic of sound art or radiophonic work that uses field-recording material. Moreover, I have researched for some time with Centre for Psychology of Music and Systematic Musicology of the University Paris-Ouest Nanterre-La Défense, the problematic of the relationship between recording, performance and extra-musical influences on the very process of the music making.
What I would be interested to explore in the SONM Sound Archive is a mapping of the studio and live recordings of the pieces, their possible and expected difference, the relationship between reception of the work and artistic statement. This would be a preparation for my ongoing project to create a series of in depth interviews – recordings of artist’s voices – talking about their work and specific problems, which would open possibility to create a space for better understanding of the flux that encompasses creative decision and aesthetical reception. If we are to create a new analytical framework for tackling sound art and experimental works we have to address the question of language we use to describe sonic phenomena in past few decades both in the domain of artistic practice and in the field of contemporary aesthetics, philosophy and theory.