„Words are important because they are not the most important“
In the debate on artistic research, the points of view on the what, why and how tend to be highly divergent. Although this divergence can be considered as a sign of the discipline’s youth as well as its methodological potential – to some it is not even clear yet whether ‘artistic research’ can actually grow into a bona fide discipline at all – the need for a common methodological ground is urgent. This is not the place to explore this ground in depth, but some considerations on the subject may be useful for a better understanding of the way in which to consider musical creativity.
One of the recurring issues in the world of artistic research is the status of the so-called tacit knowledge that artistic practice may hold, and the ensuing question of if and how this tacit knowledge can be revealed. Central to this discussion is the complex relation between on the one hand, the artistic praxis itself (artistic research and development, creative processes, eventual outcomes) and, on the other hand, the language employed to delineate what happens throughout the different stages of the artistic praxis. Confronted with the task of writing on the complex world of a musician’s creativity, it is challenging to try and overcome the restrictions of verbal language. One method of doing so has been described by Aslaug Nyrnes in her (2006) article Lighting from the side. Continue reading “[ENG] Recitations and Reconsiderations [3/15] “Words are important because they are not the most important””