organum moda II.

 

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PROGRAM STRUCTURE

 

The residency unfolds through three consecutive stages. Each stage has a distinct function within an integrated process moving from contextualization to experimentation and public articulation.

 

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Stage I. | November 2026

2 online seminars

 

The first stage establishes the residency’s artistic and discursive foundations. Participants introduce their practices, formative influences, methods, selected works, current projects, and central questions, creating a shared basis for understanding the cohort’s historical, technical, aesthetic, and methodological positions.

 

Individual improvisers present performances, recordings, texts, technological systems, or research processes they intend to develop. Ensembles introduce their collective histories, rehearsal practices, interactional protocols, sonic priorities, and approaches to decision-making.

 

Discussion focuses on the relation between artistic intention and material realization, the transmission of techniques, the role of memory, the conditions of ensemble agency, and the conceptual framework of the edition. The purpose is not to finalize projects, but to identify the questions, resources, and constraints that will guide their subsequent development.

 

Stage I includes:

– 2 online seminars

– Presentation of artistic practices and methodologies

– Introduction of selected previous works and current projects

– Contextualization of formative histories, influences, and modes of transmission

– Collective listening, analysis, critical feedback, and Q&A

– Identification of artistic, technical, historical, and conceptual questions

– Initial engagement with SOURCE, SUBSTANCE, AND STRUCTURE

 

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Stage II. | January 2027

2 online seminar-laboratories

 

The second stage centers on practice-led experimentation and critical inquiry. Participants present developed materials and test propositions arising from Stage I through performance, collective listening, analytical discussion, and laboratory formats exposing relations among source, substance, and structure.

 

Depending on each project, inquiry may concern duration, density, articulation, instrumental or vocal technique, spatial organization, electronics, interface design, environmental sound, group coordination, temporal memory, or the relation between historical premise and perceptible result.

 

Participants may vary a procedure, isolate a relation, alter a technological condition, redistribute ensemble roles, or compare multiple realizations of the same proposition. The objective is not experimental control in a scientific sense, but the deliberate production of contrast through which tacit assumptions and causal relations can become more perceptible.

 

Stage II includes:

– 2 online seminar-laboratories

– Presentation of developed performances, recordings, methods, and research materials

– Practice-led experimentation and comparative testing

– Collective listening and analysis

– Critical examination of historical and methodological premises

– Feedback from participants and invited mentors

– Identification of questions requiring further development

– Preparation of performance, technical, and documentation strategies

– Continued engagement with SOURCE, SUBSTANCE, AND STRUCTURE

– Q&A

 

By the conclusion of Stage II, projects should be sufficiently articulated to enter the on-site phase while remaining open to transformation through performance, environment, and public exchange.

 

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Stage III. | June 14–25, 2027

On-site residency at the seventh Bled Contemporary Music Week

 

The final stage takes place in Bled, Slovenia. Participants bring the practices and questions developed online into an environment of performance, rehearsal, experimentation, discussion, and public presentation.

 

Concrete acoustic, spatial, technical, environmental, and interpersonal conditions may require artistic revision. Performance remains a site of inquiry in which materials can be reorganized, methods tested, and conceptual assumptions challenged.

 

Participants engage through individual and collective working sessions, rehearsals, laboratories, symposia, and public events. The public program includes performances, lecture-performances, improvisation laboratories, and research presentations, and may also accommodate talks, demonstrations, and hybrid formats. A performance may advance an argument; a lecture may become an experiment. Each format is evaluated according to its capacity to make artistic knowledge perceptible and discussable.

 

Stage III includes:

– On-site residency in Bled, Slovenia

– Individual and ensemble working sessions

– Improvisation laboratories and performative testing

– Engagement with acoustic, spatial, technological, and environmental conditions

– Artistic and methodological revision

– Public performances and lecture-performances

– Research presentations, talks, and critical exchange

– Professional documentation of performances and presentations

 

The public program offers a provisional articulation rather than a claim to definitive completion, presenting artistic work together with the processes, histories, and questions through which it developed.